THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 

GIFT 


Mr.  &  J?rs.   Jo  Swerling 


PRUNELLA 


Bg  i^arleg  6ranbtlle=Barfter 

Plays 
The  Marrying  of  Ann  Leetk 
The  Voysey  Inheritance 
Waste 

The  Madras  House 

THREE    SHORT    PLAYS:     Rococo.       Vote   by 
Ballot.     Farewell  to  the  Theatre 

The  Secret  Life 

With  LAURENCE   HOUSMAN 
Prunella:  or,  Love  in  a  Dutch  Garden 

With   DION   CLAYTON   CALTHROP 

The  Harlequinade;  An  Excursion 

English  Versions  of  Foreign  Plays 
Anatol:  by  Arthur  Schnitzler 

Criticism 
The  Exemplary  Theatre 


Prunella.     It's  tlie  key  of  the  garden  gate. 
Pierrot.      Is  it  really  ? 

Frontispiece.     See  page  26 


PRUNELLA:  OR  love 
IN    A     DUTCH     GARDEN, 
BY    LAURENCE    HOUSMAN 
AND    GRANVILLE    BARKER 


non-referT 


^WVAD '  Q3S 


BOSTON 

LITTLE,    BROWN,    AND    COMPANY 

1928 


Copyright,   igod. 
By  Laurence  Housman  and  Harley  Granville  Barker. 


Ail  ri^rkts  reserved 


Prunella  is  fully  protected  by  copyright.  It  must  not  be  fer. 
for  tried  either  by  atnuteurs  or  professionals  tvithout  7vritten 
permission.  For  such per»tission,  apply  to  The  Paget  Dramatic 
Agency,  b3  West  tfjth  Street,  Nevj  Tork. 


PmNTKD  LS  THK  UNTTBD  STATES  OF  AMKKICA 


DRAMATIS   PERSONS 


Pierrot. 

ScARAMEL,  his  Servant. 

Hawk, 

Kennel, 

Callow, 

Mouth, 

Doll, 

Romp, 

Tawdry, 

Coquette, 

Tenor,  a  hired  Singer. 


Mummers. 


Prunella. 

Prim, 

Prude, 

Privacy, 

Queer, 

Quaint, 

1st,  2nd,  and  3rd  gardener. 

Boy. 

Love,  a  Statue. 


her  Aunts. 


their  Servants. 


86135b 


PRUNELLA 

ACT   I 

Scene.  —  A  garden  enclosed  by  high  hedges  cut  square. 
To  the  right  a  statue  of  Love,  with  viol  and  bow, 
stands  over  a  fountain.  To  the  left  is  a  house  with 
prim  windows,  the  centre  one  projecting  over  a 
porch  in  which  hangs  a  caged  canary.  The  three 
gardeners  are  discovered  at  work,  trimming  the 
hedges  and  nailing  up  creepers.  Behind  the 
further  hedge  the  Boy's  voice  is  heard. 

BOY,     O  you  naughty,  naughty  birds,  now  will  you 
Come  into  my  garden,  and  I'll  kill  you  ! 

1ST  GAR.     Well,  what  d'you  say  the  weather's  going 
to  be? 

2ND  GAR.     Weather  ain't  up  to  much,  it  seems  to  me. 

3RD  GAR.     It's  up  to  mischief,  though : 
Making  thinks  grow 
A  deal  too  fast. 

These  hedges  —  since  we  cut  'em  last  — 

z 


PRUNELLA  [act  i 


Don't  seem 

As  if  they  know'd  as  a  straight  line  could  mean 
Anything  !     No ;  they're  all  elbows  and  knees, 
Perking  'emselves  about  just  as  they  please ! 
Oweasy  thing  be  trees  ! 

BOY.     O  you  naughty  little  pests,  now  fly,  please ! 
Don't  come  making  nests  in  my  trees  ! 

1ST  GAR.   Well,  what's  to  be  done  now? 

2ND  GAR.    I  thought  as  how  — 
While  we  was  on  it,  gettin'  things  to  shape  — 
'T  might  be  a  good  plan  just  to  give  a  scrape 
To  this  old  fountain. 

3RD  GAR.  Ah!  you  thought  that ?    Well, 

Then  don't  you  do  it ! 

2ND  GAR.  Oh!  why  not? 

3RD  GAR.  /  tell 

You  —  donH  you  do  it!  't  's  not  to  be  touched,  so  there ! 

2ND  GAR.     Well,  it  can  rot  then  ! 

3RD  GAR.  You  haven't  been  here 

So  long  as  I  have !  if  you  had  you'd  know. 

2ND  GAR.     Oh,  indeed,  oh?  [boy  throws  cap. 

Now  then  !  now  then  ! 

BOY.  Please,  Mister  Gardener,  I 

Was  only  throwing  it  at  a  butterfly ! 

3RD  GAR.  Then  just  you  leave  the  butterflies  alone : 
They  mind  their  business  —  and  you  mind  your  own ! 
It's  scaring  birds  is  what  you've  got  to  do. 


ACT  i]  PRUNELLA 


BOY.     They's  scared  enough  now,  Mister;  —  they 
seed  you 
Come  into  the  garden. 

3RD  GAR.  Eh?  look  'ere,  look  'ere! 

You  keep  that  sauce  for  your  own  chop  !     D'ye  hear? 
Now  come  and  pick  this  rag  up  !     Don't  be  slow ! 
What's  coming  to  the  boy  now  I  don't  know. 

1ST  GAR.     It's  just  his  youth. 

3RD  GAR.     His  youth !    Hi !    Here  a  minute ! 
Closer  .  ,  .  that  pocket  there  .  .  .  what  you  got  in  it  ? 

BOY.     Got?    What? 

3RD  GAR.     Why,  this.     This  'at ! 

1ST  GAR.  Lord  love  yer,  look  at  that ! 

BOY.     'A  picked  it  up. 

3RD  GAR.     Picked  it  up,  did  you ?    Where? 

BOY.     Please,  Mr.  Gardener,  down  —  down  at  the 
fair. 

3RD  GAR.     Oh,  so  it's  the  fair  you've  been  to,  have 
you,  then? 

BOY.     Yes,  please,  Mr,  Gardener,  I  went  —  but  I  — 
I  come  back  agen. 

3RD  GAR.    Who  was  it  told  you  to  go? 

BOY.  Please,  Mister,  I  — 

I  went  to  see  the  mummers. 

1ST  GAR.  Mummers?     My! 

3RD  GAR.     And  you  been  brought  up  so  respectable, 
And  b 'longing  here  1     What  did  you  go  for? 


PRUNELLA  [act  i 


BOY.  Well,  — 

You  see  they  was  going  away  to-day,  some  one  told 

me  — 
And  I  just  couldn't  'elp  it !     I  just  'ad  to  see 
If  they  was  Uke  —  like  what  I'd  thought  they'd  be. 
An'  oh,  they  was,  they  was  and  more  so !     There 
Was  a  lot  of  'orses  and  ponies,  all  polished-shinin',  just 

like  my  'air 
Of    a    Sunday ;     an'    acrobats,    pink-in-the-skin,    an' 

clowns 
All    tumbling    about !     and   ladies,    oh  !  —  what   had 

gowns 
Too  short  for  their  legs  !  and,  my  word,  didn't  they  kick  ! 
And  there  was  a  lot  of  fiddlers  fiddling  so  quick 
You  couldn't  stop  to  breathe  for  listening ;  and  fairies 

with  wings. 
And  folk  what  had  sugar-plimi  things 
Stuck  all  over  them  !     Oh,  and  they  played 
The  fool  to  the  life  ! 

1ST  GAR.     Did  they  now  —  did  they? 

3RD   GAR.  Well? 

BOY.     Made  you  feel  you  wished  you  was  silly  your- 
self —  like  as  you  was  ever  so. 

3RD   GAR.      Well? 

BOY.     Then  —  then  I  come  away. 

3RD  GAR.     Then,  now  you 


[Points  him  back  to  his  work. 


ACT  i]  PRUNELLA 


BOY.     Yes,  Mister  Gardener. 

3RD.  Head  Gardener. 

BOY.     'Ead  Gardener. 

i€T  GAR.     Oh,  I've  seed  life  in  my  time  too ! 

3RD  GAR.     Yes.     An'  you  just  encourage  that  boy. 

1ST  GAR.  7  do? 

3RD  GAR.  I'm  feared  at  'eart  you're  unregenerate, 

Jeremy ! 
2ND  GAR.     Ah !  what  was  you  up  by  the  gate 
So  long  about  this  morning  ? 

1ST   GAR.  I? 

2ND    GAR.  —  If  not 

To  see  them  mummers  pass ;  more'n  one  lot 
Went  by  wi'  a  band  just  about  breakfast-time. 

1ST  GAR.     Ay,  so  they  did. 

2ND  GAR.  And  you  there? 

1ST  GAR.  Eh!    Well,  I'm 

Fond  of  a  bit  of  music  and  a  game. 

3RD  GAR.  What,  at  your  age  ?  O  Jeremy,  think  shame 
Of  harbouring  of  such  thoughts  ! 

2ND  GAR.     [Sniffing.]  Ah,  ha! 

3RD    GAR.  Well? 

What  are  ye  up  to  there,  my  Samuel  ? 
What's  come  on  you  ? 

2ND  GAR.  There's  summat  I  can  smell 

The  shape  of  here ! 

3RD  GAR.  What  sort  of  shape'U  it  be  ? 


6  PRUNELLA  [act  i 

2ND  GAR.     Our  dinner !    Pigs'-pudding ! 

3RD  GAR.  Good ! 

1ST  GAR.  Ay !  though  for  me  — 

I  prefer  chitterlings. 

3RD  GAR.  Ah!  I  don't  know! 

I  dunno.     Chitterlings  in  their  place  don't  go 
So  bad ;  but  if  you  was  to  ask  me  straight 
What  I'd  have  first,  if  it  should  be  my  fate 
To  die  to-morrow,  why  I  think  I'd  most 
Choose  tripe  and  onions ! 

1ST  GAR.  Peter,  add  a  roast 

Potato,  and  I'm  with  you ! 

BOY.  Please,  misters,  say 

Ain't  'am  and  eggs  your  notion  of  heaven  ? 

3RD   GAR.  Eh? 

My  notion  is  you'd  better  get  on  away 

Back  to  your  work  —  wasting  your  time  all  day 

Listening  to  what's  not  meant  for  your  ears ! 

2ND  GAR.  Well, 

That  talk's  made  me  feel  sorry  for  mysel'  — 
Hungry.     How  goes  the  time? 

3RD  GAR.  It  ain't  nigh  twelve. 

Not  yet.  [Sighs 

Enter  queer,  carrying  small  table. 

2ND  GAR.     Oh,    good-morning,    ma'am,  —  miss,     t 
should  say. 


ACT  i]  PRUNELLA 


QUEER.     No,  you  shouldn't:    you  should  wait  till 
you're  spoken  to ! 

3RD  GAR.     Quite  right,  Mrs.  Queer!     Patcher,  learn 
your  place ! 

QUEER.     I  didn't  ask  you  to  speak ! 

3RD  GAR.     You  did  not,  Mrs.  Queer,  but  the  sweet- 
ness of  your  looks  tempted  me  to  hutter  a  hobservation. 

QUEER.     Ha ! 

[queer  arranges  things  and  exit  abruptly. 

2ND  GAR.    What's  put  her  out? 

3RD  GAR.     Thought  of  old  times,  maybe ! 

2ND  GAR.  Eh,  but  she  needn't  vent  it  off  on  me. 

1ST  GAR.     Here!  did  she  have 
Her  disappointments  ever  ? 

3RD  GAR.  T  don't  know. 

I  don't  know. 

2ND  GAR.     Ah,  you've  your  suspicions,  though ! 

1ST  GAR.     When  did  it  happen  ? 

3RD  GAR.     If  it  did  happen  —  and  I  don't  say  so  — 
But  yet  I  don't  say  no  —  'twas  at  the  time 
When  that  French  gentleman-gardener  come  along,  — 
Him  as  put  up  that  fountain.     It  was  then 
As  most  things  happened  that  ever  happened  here. 

1ST  GAR.     Oh,  ho,  so  that's  how  it  come?     What 
does  it  mean  ? 

2ND  GAR.     That    stands    for    Cupid.     Cupid's    the 
French  for  love. 


8  PRUNELLA  [act  i 

Re-enter  queer. 

QUEER.     In  a  few  minutes'  time  your  mistresses 
Are  coming  to  sit  here :  and  they'll  expect 
Quiet  and  no  disturbance  while  Miss  Prunella 
Is  doing  her  lessons.     Mister  Gardeners, 
You  had  better  begin  to  work !  it's  getting  late ! 

[Exit. 

3RD  GAR.     Ah,  she  don't  like  our  looking  at  this 
here  .  .  .  No  .  .  . 
Yes,  as  I  say,  'twas  that  French  artist  chap  — 
*  Gardener  architect '  as  he  called  hisself  — 
Who  put  that  up.    Well,  it  was  never  any 
Affair  of  mine. 

1ST  GAR.  And  what  else  did  he  do? 

3RD  GAR.    Well,  —  we  don't  make  a  boast  of  it, 
you  see,  — 
But  it  was  'e 
Run  off  with  the  youngest  of  'em  —  Miss  what's-er- 

name? 
—  With  Miss  Prunella's  mother,  as  she  became. 

1ST  GAR.     0-oh !    Was  Miss  Prunella  his  daughter, 
then? 

3RD  GAR.     I  don't  know. 

2ND  GAR.    What  —  didn't     they    marry    when  — 
When  —  er  — 

3RD  GAR.         I  dunno. 


ACT  i]  PRUNELLA 


1ST  GAR.  Come,  out  with  it,  man ! 

What  do  you  know  ? 

3RD  GAR.                 Well,  twenty  years  ago, 
That  Frenchman,  he  come  here ;  and  he  began 
Chopping  and  changing,  doing  things  on  his  own  — 
Improving  what  he'd  better  have  left  alone. 
If  you  ask  me.     'Twas  he  put  on  the  shelf 
That  graven-image  o'  Cupid  —  carved  it  himself : 
And  —  Miss  —  Priscilla 

2ND   GAR.  Ah  ! 

3RD  GAR.  She  used  to  come 

And  watch  him  at  it. 

1ST  GAR.  Oh !  so  that  was  how ! 

3RD  GAR.     Ah !    that  was  it.     Then  she  grows  pale 
and  thin, 
And  melancholy-like ;  —  you  know  the  way 
That  sort  of  thing  takes  people  —  walked  about 
With  a  book  in  her  hand,  holding  it  upside  down 
Pretending  to  be  reading  of  it  —  watching  him. 

2ND  GAR.     And  he  a-watching  her  ? 

3RD  GAR.  Ay,  ay !    Befare 

He  made  the  sign,  she  was  in  love  with  him, 
And  just  as  ftdl  of  it  as  any  goose 
Is  with  the  stuffing. 

1ST  GAR.     Did  nobody  find  out? 

3RD  GAR.    Ah,  p'r'aps  Miss  Privacy  knew  — 
Or  guessed :  but  she  was  soft  —  she  didn't  say 


10  PRUNELLA  [act  i 

Anything  to  the  others.    And  then,  one  day, 
Just  when  the  statue  was  finished  —  she  and  him  — 
Miss  Priscy  and  her  Frenchman-architect  — 
Took  and  run  off  together.     No  one  knows 
What  happened  after  that. 

2ND  GAR.  Well,  they  must  know 

Something :  or  where  does  Miss  Prunella  come  in  ? 

3RD  GAR.  She  come 

Just  a  year  afterwards,  as  small  and  young 
As  they  make  'em  —  found  lying  at  the  door 
Tied  up  in  black  ribbon,  with  a  letter  written 
By  Miss  Priscilla  just  before  she  died, 
Saying  the  child  was  hers.     But  more  than  that 
I  don't  know,  I  don't  know. 

2ND  GAR.    Well,  a  poor  business  that  was  to  be  sure ! 
And  what  for,  eh  ?  for  love !  —  Cupidity  ! 
'Stupidity'  /  call  it.     I  love  my  love 
With  a  D  —  I  want  my  dinner  ! 

1ST  GAR.     So  that's  where  Miss  Prunella  gets  her 
ways. 
Is  it  ?    Why  there !     I've  seen  her  hanging  round 
That  fountain  by  the  hour,  all  sad  and  pale 
And  star-gazing  at  nothing :  —  just  as  you  say 
Her  mother  used  to  do. 

3RD  GAR.  Oh,  ay !  she's  like 

Her  mother  :  a  deal  too  like  her  to  please  me. 
If  we  don't  look  out,  she'll  go  falling  in  love 


ACT  i]  PRUNELLA  11 

With  the  first  pretty  fellow  she  sets  eyes  upon  ; 
And  then  the  deuce  to  pay ! 

BOY.  Please,  Mister  Gardener,  I  saw  Miss  Prunella 
looking  at  me  yesterday  —  the  saddest,  sorrowf idlest 
look  you  ever  saw.  It  made  me  blush  all  down  into 
my  clothes.     Oh ! 

[Breaks  of. 

Enter  prunella.  She  is  sttidying  a  book  and  carrying 
a  satchel  of  work  on  her  arm.  Occasionally  she 
half  closes  her  hook,  and  raises  her  head  to  mutter 
a  piece  off  by  heart;  then  halts  and  looks  down 
again,     ist  and  2ND  gardeners  go  round  hedge. 

Oh,  hark,  naughty  birds,  what  I'll  do  t'  you ; 
Go  out  of  my  garden,  or  I'll  shoot  you  ! 
PRUNELLA  [Repeating  each  line  twice  over.] 

Not  to  allow  my  thoughts  to  stray  — 
Not  to  allow  my  thoughts  to  stray 
Beyond  the  duties  of  each  day  — 
Beyond  the  duties  of  each  day : 
Thus  only  can  I  hope  to  be  — 
Thus  only  can  I  hope  to  be 
A  type  of  maiden  modesty  — 
A  type  oj  maiden  modesty. 
Now  I  know  that. 
3RD  GAR.     Hem ! 
PRUNELLA.     What  are  you  doing  there? 


12  PRUNELLA  [act  i 

3RD  GAR.     Giving  Nature  a  lesson,  miss. 

PRUNELLA.     What  are  you  teaching  her  ? 

3RD  GAR.  To  keep  straight !  I'll  let  her  know  who's 
master  while  Pm  here. 

PRUNELLA.  And  if  you  didn't,  what  would 
happen  ? 

3RD  GAR.  Why,  she'd  kick  over  the  traces  and  be 
off  her  own  way  in  no  time.  She's  bad  enough  as  it  is, 
always  getting  herself  [clips]  out  of  shape,  and  trying  to 
be  different  to  what  you  make  her.  [Clips.]  Well, 
that  you  can't  help,  you've  just  got  to  come  along  and 
put  it  right.  [Clips.]  First  she'll  run  to  leaf — that 
you  can't  help  —  then  she'll  run  to  seed  —  that  you 
can't  help  —  then  she  goes  stalky,  [clips]  rots  herself  — 
dies  and  stinks.     None  of  it  you  can't  help. 

PRUNELLA.     What  can  you  do,  then  ? 

3RD  GAR.  Oh,  you  —  you  —  can  make  things  un- 
comfortable for  her ;  you  can  show  her  what  she  ought 
to  be,  and  keep  her  in  her  place  —  make  her  toe  the 
line.  That's  what  a  garden's  for,  that's  where  gardening 
comes  in. 

PRUNELLA.     Oh  dear !  here  are  my  aunts  already ! 

3RD  GAR.     Yes,  miss. 

PRUNELLA.  Lessons !  I'm  sure  I'm  growing  too 
old  for  lessons. 

3RD  GAR.  No,  miss  —  no  one  grows  too  old  for 
lessons. 


ACT  i]  PRUNELLA  13 

Enter  prim,  privacy,  and  prvde,  followed  by  queer  and 
QUAINT.  The  GARDENERS  retire  behind  hedge, 
and  commence  to  work. 

PRIM.  Prunella,  it  is  lesson-time.  Are  all  your 
lessons  learned  ? 

PRUNELLA.     Yes,  Aunt  Prim. 

PRIVACY.     Quaint,  is  the  outer  gate  shut? 

QUAINT.     Yes,  ma'am. 

[prunella  stands  apart  conning  her  lesson. 

PRUDE.  Indeed,  I  hope  so ;  to-day  it's  very 
necessary.  You  had  better  double-lock  it,  and 
draw  down  all  the  blinds  looking  towards  the 
road. 

prunella.  Why,  Aunt  Prue,  people  will  think 
there's  some  one  dead  in  the  house  ! 

PRUDE.  They  had  better  do  so.  Prunella,  if  it  will 
induce  them  to  moderate  their  conduct  while  passing 
our  premises.  I  have  already  beheld  more  than  I  care 
to  recount  to  you, 

PRIVACY.     I  heard  a  disturbance  outside. 

prunella  [Leaning  forward  with  a  little  curiosity.] 
Oh,  yes 

PRIM.   Prunella,  deport  yourself  ! 

PRIVACY  [To  QUAINT.]  You  had  better  bring  me  the 
key  of  the  gate. 

QUAINT.     Yes,  ma'am.  [Exit. 


14  PRUNELLA  [act  i 

PRIM  [To  QUEER.]     To-day  we  shall  not  be  at  home 
to  any  one. 

PRUDE.     Who  will  call?     No  one  can  venture  into 
the  streets. 

PRUNELLA.    Why  can't  they,  Aunt  Prude? 

PRUDE.     Never  mind,  Prunella  ! 

PRIM.     Tell  the  gardeners  to  see  that  nobody  in- 
trudes. [Exit  QUEER. 

BOY.     O  you  naughty,  naughty  birds,  now  will  you 
Come  into  my  garden  and  I'll  kill  you ! 

[quaint  returns  with  the  key,  and  exit  into  house. 
PRUNELLA  wanders  towards  the  hedge. 

PRIM.     Prunella,  get  your  needlework, 
And  bring  your  little  chair : 
Assume  the  task  you  wish  to  shirk, 
And  come  and  sit  down  here  ! 

GARDENERS  [Looking  round  hedge.] 
And  go  and  sit  down  there  ! 

PRUDE.     But  please  to  do  it  decently, 
No,  do  not  cross  your  feet ; 
These  habits  have  come  recently.  ^ 
Correct  them,  I  entreat ! 

GARDENERS  [As  before.] 
Correct  them,  we  entreat ! 

PRIVACY.     Count  ten  before  you  say  a  thing, 
Think  of  each  word  you  use. 
Be  careful  how  you  weigh  a  thing. 
And  mind  your  P's  and  Q's. 


ACT  i]  PRUNELLA  15 


GARDENERS.    And  mind  your 

[Clock  strikes  'Cuckoo'  twelve  times.     The  garden- 
ers stop  speaking  and  begin  to  count  on  their 
/  -    fingers  and  feet. 

BOY  [Behind  hedge.]  O  you  naughty,  naughty  birds ; 
now  —  oof !  .  .  .  [A  dinner-bell  is  heard. 

3RD  gar.     Dinner ! 
2ND  GAR.     Dinner! 

1ST  GAR.  Dinner !  [boy  runs  past. 

2ND  GAR.     That  boy  gone  —  forward  as  usual ! 

[Exeunt. 

PRUDE.     Prunella,  regulate  yourself  ! 

PRIM.  It  is  time  to  begin  lessons.  Have  you  learned 
your  verses?  [prunella  hands  the  book.]  You  had 
better  stand  while  you  recite. 

prunella.     What  is  my  task  to-day  ?    Behold 
The  dawn  arises  decked  in  gold ; 
Bird,  beast,  and  fish  awake  to  run 
Their  daily  rounds  beneath  the  sun. 
ShaU  I  alone  neglect  to  ask 
The  frightftd  question,  'What's  my 

PRIM.     Vital  question. 

prunella.     Shall  I  alone  neglect  to  ask 
The  vital  question,  'What's  my  task?  ' 
Ah,  no  !  the  Power  which  placed  me  here, 
Directs  me  still  to  persevere  ; 
To  find,  removed  from  dust  and  heat, 


16  PRUNELLA  [act  i 

Materials  for  a  life  complete, 
And  to  pursue  with  taste  subdued 
The  gentle  paths  of  rectitude ; 
To  keep  my  temper  well  controlled, 
To  be  content  —  do  as  I'm  told, 
Not  to  allow 

PRUDE.   Prunella,  retreat  the  sash ! 

PRIM.     '  Not  to  allow '  —  continue,  Prunella ! 

PRUNELLA.      Not  tO  allow    .    .    . 

To  keep  my  temper  well  controlled, 
To  be  content  —  do  as  I'm  told, 

Not  to  allow 

Oh,  I've  forgotten  it  all  now !    Retreating  the  sash  put 
it  all  out  of  my  head. 

PRIM.     You  must  learn  it  again. 

PRIVACY.  Prunella,  I  have  not  known  this  happen 
before  !  You  had  better  carry  the  book  indoors.  Bring 
The  Gentle  Reader  with  you  when  you  return. 

[Exit  PRUNELLA. 

PRIM.     Do  you  think  she  has  noticed  anything  ? 

PRIVACY.     Seen  anything  ?     Oh,  I  hope  not. 

PRUDE.     I  think  it  possible. 

PRIVACY.  I  fancy  the  fair  must  be  breaking  up 
to-day. 

PRUDE.  Three  or  four  bodies  of  the  rabble  have 
already  passed  along  the  road. 

PRIM.     Our  road  ? 


ACT  i]  PRUNELLA  17 

PRUDE.  I  heard  —  I  almost  saw  them.  I'm  sure 
it  is  a  death-trap  to  any  young  girl's  modesty  to  look 
out  of  window  while  such  characters  are  abroad. 

PRIVACY.  Hadn't  we  better  all  go  indoors?  We  are 
too  close  to  the  road  here. 

PRIM.  But  we  must  be  careftd  not  to  be  abrupt  or 
to  seem  purposeless. 

PRUDE.  If  we  made  any  sudden  move,  Prunella's 
curiosity  might  be  aroused. 

PRIM.     I  think  it  is  aroused  already. 

PRUDE.  Well,  she  certainly  showed  a  peculiar  intelli- 
gence about  the  blinds.  She  seemed  to  me  to  wish  to 
have  them  up. 

[prunella  returns  from  the  house. 

PRIVACY.     Hush !  here  she  comes. 

PRIM.     I  observe  a  strange  agitation  in  her  manner. 

PRUDE.     She's  concealing  something. 

[The  mummers'  music  in  the  distance. 

PRIM.     Privacy  —  there  are  the  mummers  again ! 

PRIVACY.     Dear  me !    But  quite  in  the  distance. 

PRIM.     But  she'll  hear  them  —  she  must 

PRUDE.     She's  taking  notice  —  she's  taking  notice ! 

PRIVACY.     Oh,  distract  her  attention  ! 

PRIM.     How? 

PRUDE.     Make  conversation ! 

PRIM.    Ah  !  —  it's  the  gardeners'  dinner-hour  — 

PRIVACY.     They  will  have  finished  soon. 


18  PRUNELLA  [act  i 


PRUDE.     It  looks  as  if  there'd  be  a  shower 
This  afternoon. 

PRIM.     I  hope  you  put  away  your  books? 

PRUNELLA.      Yes. 

PRIM.  Closed  the  drawer  again  ? 

PRUNELLA.      Yes. 

PRIM.  Quite  sure? 

PRUNELLA.  Yes. 

PRUDE.  It  really  looks 

As  if  there  would  be  rain. 

PRIM.     Vninella,  do  not  cross  your  feet, 
Don't  turn  them  so  much  out ! 

PRUDE.     Really  I  do  think  from  the  heat 
Thunder  must  be  about. 

[A  slight  pause. 

PRIM.     Ah  !      They  have  passed  by. 

PRIVACY.     Dear  child,  she  has  noticed  nothing. 

PRUDE.     Innocence  is  a  beautiful  thing,  Privacy. 

[prim  yawns. 

PRUDE.     Really,  Prim ! 

PRIM.  I  am  sorry  —  I  think  it  is  more  nervousness 
than  fatigue. 

PRUDE.  Reading,  Prunella !  —  Open  your  Gentle 
Reader.  Turn  to 'The  Moon.'  No  —  no,  Prunella  — 
do  not  waste  yoiu*  energy  in  turning  pages.  Discover 
the  whereabouts  of  the  passage  by  means  of  the  Index 
" —  placed  in  the  book  for  that  purpose. 


ACT  i]  PRUNELLA  19 

[privacy  yawns. 

PRUDE.     Oh,  Privacy ! 

PRIVACY.     I  beg  your  pardon. 

PRUDE  [To  PRUNELLA.]  Havc  you  found  'The 
Moon '  ? 

PRUNELLA.    Yes,  Aunt. 

PRUDE.  Then  begin.  Read  slowly  and  sit  straight. 
[She  starts  a  yawn,  but  checks  it.]  No  —  'twas  not 
yawning. 

PRUNELLA.  'The  Moon.'  To-day,  gentle  reader, 
we  will  look  at  the  moon,  in  order  to  consider  its  char- 
acter, its  condition,  and  its  constituents,  so  far  as  they 
are  known.  The  moon  is  much  larger  than  the  unin- 
structed  would  suppose ;  it  is  nearly  a  quarter  of  a 
million  miles  away  from  our  globe,  which  will  give  you 
some  idea  of  its  size.  Thus  the  fastest  crow  would 
take  nearly  four  years  to  fly  from  here  to  the  moon, 
without  any  pause  for  refreshment  by  the  way,  and  the 
kingly  eagle  would  not  accomplish  the  task  under  three. 
Let  facts  like  these,  gentle  reader,  stir  your  wonder 
at  Creation's  mighty  plan,  and  stimulate  modesty  at 
your  own  exceeding  insignificance. 

PRUDE.  'Modesty,'  Prunella;  you  had  better  make 
a  note. 

PRUNELLA  [Makes  a  note.]  The  moon  has  from  time 
immemorial  been  the  subject  of  foolish  fables,  all  of 
which  are  untrue.     The  fact  that  the  contours  of  its 


20  PRUNELLA  [act  i 

surface  somewhat  resemble  the  htmian  countenance 
has  given  rise  to  an  ignorant  superstition  that  the  moon 
contains  a  man.  Gentle  reader,  there  is  no  man  in  the 
moon,  nor  is  it  in  the  least  probable  that  any  form  of 
life  can  exist  there.  It  is  true  that  the  moon  presents 
to  our  eyes  only  one-half  of  its  surface;  no  one  has 
ever  seen  the  further  side  of  the  moon. 

PRIM.     Prunella,  why  do  you  stop  reading? 

PRUNELLA.  No  onc  has  ever  seen  the  further  side 
of  the  moon  !  It  is  probably  just  the  same  in  all  respects 
as  the  one  we  know.  [The  aunts  begin  to  nod.]  The 
moon  completes  the  circuit  of  the  earth  once  in  every 
lunar  month.  If  uninfluenced  by  superior  gravity  the 
moon,  once  started,  wotild  have  gone  on  in  a  straight  line 
for  ever ;  any  change  that  has  come  about  is  propor- 
tional to  the  earth's  attraction,  and  lies  in  the  direction 
of  that  attraction.  [Distant  music  conies  nearer; 
PRUNELLA  stops  to  Usten  and  goes  on  again.  The  aunts 
sleep.]  The  earth  influences  the  moon,  attracting  it  by 
its  superior  gravity.  Once  it  formed  a  part  of  the  earth, 
but  breaking  away,  it  chose  a  course  of  its  own  and  lost 
all  its  heat  and  vitality.  The  moon  may,  therefore, 
fitly  be  held  up  as  an  object-lesson  to  all  young  people. 
It  once  committed  a  rash  act  for  which  it  is  now  pay- 
ing the  penalty. 

[Music  again  comes  nearer;   on  the  other  side  of  the 
hedge  are  voices  and  laughter,     prunella  stops 


ACT  i]  PRUNELLA  21 

to  listen.  Over  the  hedge  a  shower  of  confetti  falls 
upon  the  sleeping  aunts,  prunella  turns  in 
timid  alarm.  Outside  a  toy  bugle  is  blown  on 
two  notes  rather  like  a  cuckoo,  and  a  drum  is 
banged. 

PRUDE  [Awakening.]    What  was  that  noise? 

PRUNELLA.     I  don't  know.  [More  noise  without. 

PRIM.     Oh  !  oh  !     Those  dreadful  people  ! 

Enter  queer  and  quaint,  running. 

QUEER    and    QUAINT.     O    ma'am,    ma'am,    ma'am. 
The  mummers  are  going  by !     They've  been  throwing 
up  at  the  windows  and  knocking  at  the  gate,  and  there 
are  lots  more  of  them  coming  up  the  road. 
PRIVACY.     Come,  let  us  go  in  at  once. 
PRIM.     We  must  retire. 
PRUDE.     Queer,  Quaint,  bring  in  the  chairs ! 
PRIVACY.     Prunella,  my  dear,  don't  sit  so  !     Get  up  ! 
[prunella  gets  up  all  in  a  dream;  her  lap  is  full  of 
needlework,  thimbles,  scissors,  etc.,  which  fall  upon 
the  ground. 
PRIM.     Tut !  tut !  what  carelessness  !     Gather  them 
up  quickly,  and  come  ! 

[Another  blast  outside. 
prude.    Oh-h-h !     [Runs.]  [Exeunt  the  aunts, 

[queer  and  quaint  pick  up  the  chairs. 
QUEER.    What  are  you  going  to  do  ? 


22  PRUNELLA  [act  i 

QUAINT.  I'm  going  to  pull  down  the  top-floor  blinds. 
I  won't  have  people  looking  into  my  room. 

QUEER  [With  understanding  of  what  opportunity  a 
top  window  affords.]  Ah !  And  I  believe  my  window 
is  open.  Ignorance  ain't  innocence  ;  it's  well  to  know 
these  things  —  then  you  can  avoid  'em. 

PRIVACY  [Returning.]  Prunella,  I  have  dropped  the 
gate  key.  Find  it  and  bring  it  in.  Then  retire  to 
your  room  and  stay  there  till  you  are  sent  for. 

[Exit  PRIVACY.  PRUNELLA  prepares  to  follow,  takes 
up  the  key,  then  after  a  moment^s  hesitation  gets 
on  her  stool  and  looks  over  the  hedge.  Through 
the  bottom  of  the  hedge  creeps  pierrot.  Half-way 
through  he  stops. 

PIERROT.      Cuckoo  ! 

[prunella  looks  down  and  sees  him.     There  is  a 
long  pause. 
prunella.     Was  it  you  made  that  noise  just  now? 
PIERROT    [Nodding  and  smiling  at  her.]     Nice  noise, 
wasn't  it  ? 

[prunella    shakes   her   head   very   seriously.    He 
comes  right  through  the  hedge. 
prunella     [Scared.]     Naughty  white  boy,  you  must 
go  away ! 

PIERROT.     No,  pretty  Dutch  doll,  let  me  stay  ! 
prunella.     You  mustn't  call  me  names. 
PIERROT.     You  called  me  names. 


ACT  i]  PRUNELLA  23 

PRUNELLA.     I  didn't. 

PIERROT.     You  did  —  a  horrid,  nasty  name. 

PRUNELLA  [Approaching  him,  half  fascinated.]  Tell 
me  -^  what  in  the  world  are  you  ? 

PIERROT  [Going  on  his  knees  in  a  mock  attitude  of 
prayer  and  talking  very  fast,  as  if  in  a  great  hurry  to 
tell  his  tale  and  get  pardon  for  intruding.]  Oh,  I'm 
nothing :  I'm  nothing  in  the  world  but  a  poor  Pierrot. 
I'm  an  orphan,  I  haven't  got  a  home,  I  haven't  got  a 
friend,  I  haven't  got  a  leg  to  stand  on,  I  haven't  got  a 
bed  to  sleep  in,  I  haven't  had  a  bit  to  eat,  and  I  haven't 
had  a  drop  to  drink  for  three  whole  hours.  [Changing 
his  manner,  seeing  that  he  has  made  an  impression  on  her.] 
There,  now  you  know  all  about  me,  —  as  much  as  I 
know  myself,  almost.  Oh,  I'm  so  giddy,  I  can't  stand. 
If  you  don't  look  sweet  at  me,  I  shall  be  dead  in  a 
minute. 

PRUNELLA.     But  how  did  you  come  here  ?    Who  are 

you? 

PIERROT.  Dropped  Hke  a  bird.  I'm  the  man  in  the 
moon. 

PRUNELLA.  Don't  be  silly.  There's  no  man  in  the 
moon.     I've  been  taught  that. 

PIERROT.  Ah!  Don't  you  beHeve  all  the  things 
you're  told ! 

PRUNELLA.     But  that's  in  a  book. 

PIERROT.     Never  read  books.     I  never  do. 


£4  PRUNELLA  [act  i 

PRUNELLA.     Don't  you  learn  things  ? 

PIERROT.  I  know  all  that's  worth  knowing.  And 
now  rU  tell  you  something.  [Draws  nearer  and  looks 
into  her  eyes  while  he  points  to  himself.]  The  moon  has  a 
rotmd  face,  two  eyes,  a  nose,  and  a  mouth.  That's 
science.  You  thought  I  didn't  exist ;  but  —  I've 
come  true.     That  often  happens. 

PRUNELLA.     But  why  did  you  come  here  at  all? 

PIERROT.  Looked  at  you  through  the  hedge  till 
my  heart  beat  a  hole  in  it !     Now  I've  lost  it. 

PRUNE  LLA .     What  ? 

PIERROT.     My  heart. 

PRUNELLA.      How? 

PIERROT.  Flown !  Up  into  that  tree,  just  over  your 
head.  Can't  you  hear  it  crying  '  Sweet,  sweet,  sweet ! ' 
■ —  like  a  hungry  bird,  eh  ?  Throw  it  a  crumb  !  Throw 
it  a  crumb  !    There  !  did  you  hear  that  ? 

PRUNELLA  [Shaking  her  head  incredulously.]  Why 
don't  you  call  it  back  again  ? 

PIERROT.  Ah  !  it  won't  come  to  my  calling  —  not 
now !  But  if  you  were  to  call,  if  you  were  to  say, 
'Sweetheart,  sweetheart,  come!'  why,  I  shouldn't 
wonder  — 

PRUNELLA.  Oh,  you  Oughtn't  to  be  here,  you  must 
go  away. 

PIERROT.     Why  must  I  ? 

PRUNELLA.    Because  nobody  like  you  ever  comes  here. 


ACT  i]  PRUNELLA  25 


PIERROT.     Would  you  like  them  to  come  ? 

PRUNELLA.  Them !  Is  there  any  one  else  like  you 
in  the  world  ? 

PIERROT.  One  or  two.  You  don't  believe  it?  I'm 
flattered.  But  truth  before  all  things.  I'll  prove  it. 
[Whistles.]  Scaramel !  Scaramel !  But  not  quite  like 
me  —  we  are  rather  a  mixed  lot,  we  aren't  all  as  white 
as  we  are  painted. 

Enter  scaramel. 

Here  is  one,  now!  My  man  Scaramel.  Do  you  not 
see  the  likeness  ? 

SCARAMEL.    At  your  service,  if  it's  my  master's. 

prunella.     What  does  he  mean  by  that ? 

PIERROT.     That's  his  creed  —  it's  what  he  lives  by. 

PRUNELLA.  He's  not  like  you  at  all.  I  don't  like 
him. 

PIERROT.  But  that's  rather  fooHsh.  For  if  every 
one  were  just  like  me,  you'd  see  too  much  of  me, 
then. 

SCARAMEL.     Master,  she's  very  young. 

PIERROT.     Well  ? 

SCARAMEL.     Otherwise  charming  as  usual. 

PRUNELLA.  Oh,  please  send  him  away  !  If  you  will 
send  him  away  you  may  stay,  —  just  for  a  little. 

PIERROT.     What's  that  you  have  in  your  hand? 

PRUNELLA.     A  key. 


36  PRUNELLA  [act  i 

PIERROT.  It's  a  very  pretty  key.  May  I  look  at  it  ? 
Keys  fascinate  me.     I  like  to  guess  what  they  open. 

PRUNELLA.     Oh,  yes.  [Hands  him  the  key. 

PIERROT.     Now  this  isn't  a  watch  key. 

SCARAMEL.     Nor  a  bed  key. 

PIERROT.     It's  not  a  small  key. 

SCARAMEL.     No ;  it's  a  large  key. 

PRUNELLA.     It's  the  key  of  the  garden  gate. 

PIERROT.  Is  it  really?  Scaramel,  this  is  the  key 
of  the  garden  gate.  Well,  a  gate  has  its  uses,  eh, 
Scaramel  ?    Ah ! 

[scaramel  runs  of  with  the  key. 

PRUNELLA.     Thank  you  for  sending  him  off. 

PIERROT.     Don't  mention  it,  pray. 

PRUNELLA.     But  what  have  you  done  with  the  key? 

PIERROT.  Didn't  you  see  me  put  it  down  my  back 
to  prevent  my  nose  bleeding  ? 

PRUNELLA.     Was  your  nose  bleeding? 

PIERROT.  Child,  child,  I  said  to  prevent  it  bleeding. 
Let  us  talk  of  something  else.  I  don't  like  this  place* 
It's  too  straight.     I  don't  like  it. 

PRUNELLA.     It's  my  home. 

PIERROT.     Do  you  love  it  ? 

PRUNELLA.     Why  —  yes. 

PIERROT.  Why  has  your  house  shut  its  eyes  ?  That's 
wilfully  fooHsh.  Now  I'll  tell  you  a  story  about  a  house 
I  once  knew  —  very  like  this. 


ACT  i]  PRUNELLA  27 

PRUNELLA,     Really  like  this  ? 
PIERROT.     Where  somebody  lived  very  like  you. 
PRUNELLA.     Some  one  like  me? 
PIERROT.    Asleep  on  the  edge  of  a  town 
Where  the  high-road  ran  by, 
Stood  a  house  with  the  blinds  all  drawn  down, 
As  if  waiting  to  die. 

And  everything  there  was  so  straight 

With  high  walls  all  about ! 
And  a  notice  was  up  at  the  gate, 

That  told  Love  to  keep  out. 

But  Love  cannot  read,  —  he  is  blind ; 

So  he  came  there  one  day 
And  knocked ;  but  the  house  was  unkind, 

It  turned  him  away  ! 

But  lo,  when  the  gates  were  all  closed. 

When  the  windows  were  fast, 
At  night  while  the  householders  dozed. 

Love  entered  at  last. 

PRUNELLA.     Oh,  you  rccite  quite  nicely,  better  than 
I  do. 

[Peals  of  laughter  are  heard  outside  and  cries  of 
'PIERROT !     PIERROT!     PIERROT !'    which    come 
nearer. 
PIERROT.     Thank  you,  but  I  have  a  deal  of  practice. 


£8  PRUNELLA  [act  i 

PRUNELLA,     Oh,  listen  !    What's  this? 

PIERROT.     Friends  of  mine. 
Here  they  come, 
Look  at  'em : 
RolUcking,  rackety ! 

Enter  kennel,  callow,  mouth,  hawk. 

ALL  FOUR.     Here  we  come. 
Look  at  us : 
RolHcking,  rackety ! 

kennel.     Kennel ! 

CALLOW.     Callow ! 

MOUTH.     Mouth ! 

HAWK.     Hawk ! 

Enter  scaramel. 

PIERROT.     Scaramel,    good  —  you're    an    excellent 
servant. 

kennel  and  callow.     Tawdry  and  Doll. 

Enter  tawdry  and  doll. 

SCARAMEL.     Here  they  are,  pretty  dears. 
TAWDRY  and  DOLL.     Here  we  are,  pretty  dears. 
MOUTH  and  hawk.     Romp  and  Coquette  ! 

Enter  romp  and  coquette. 

ROMP  and  COQUETTE.     Last  through  the  gate. 

PIERROT.     Dance  round  me  ! 

MOUTH.    Jump,  Httle  Tawdry,  jump  so  high ! 


ACT  i]  PRUNELLA  29 

DOLL.     Here's  a  fine  garden. 
HAWK.     Let's  pull  it  to  pieces, 
COQUETTE  [Seeing  prunella.]     Oh  ! 

CALLOW,    MOUTH,    DOLL.      Oh  ! 
ALL.      Oh  ! 

PRUNELLA  [Quietly.]    Oh,  you  are  funny ! 

PIERROT.  These  are  my  friends.  Now  attention: 
Callow ! 

CALLOW,     Yes,  I'm  very  young. 

PIERROT.      Doll ! 

DOLL,     They  say  my  heart's  of  sawdust. 

PIERROT,     Hawk ! 

HAWK,     I  pounce ! 

TAWDRY.     Oh,  not  on  me  ! 

PIERROT,     That's  Tawdry  —  Mouth  ! 

MOUTH,     Greedy 's  my  other  name. 

PIERROT,     Romp ! 

ROMP,     I'm  the  jolly  girl. 

PIERROT.     Kennel,  and  Coquette  ! 

KENNEL.     I  make  no  pretence  to  being  nice. 

COQUETTE,     I'm  here  to  waste  his  time. 

PIERROT.     Now  what's  your  name  ? 

PRUNELLA,     Of  course  I'm  Prunella, 

PIERROT,     Well,  I'm  Pierrot, 

ALL,     Now  you  know. 

PRUNELLA.  Pierrot's  a  pretty  name.  [She  grows 
suddenly  frightened.]     I  think  you'd  better  go  away. 


so  PRUNELLA  [act  i 

PIERROT.     Oh,  but  that  isn't  polite  of  you. 

PRUNELLA.     I  don't  think  my  aunts  would  be  pleased. 

PIERROT.     That  shows  their  bad  taste. 

PRUNELLA.     Oh,  please  go  !  —  make  haste ! 

PIERROT.     No,  we  shan't. 

PRUNELLA.     Then  I  must.  [Begins  to  run. 

PIERROT.     Catch  my  butterfly,  catch  my  butterfly  ! 

[They  circle  round  her. 

ALL.     Butterfly !     Butterfly ! 

HAWK.     No,  you're  a  chrysalis. 

ROMP.     Wait  till  the  sun  warms. 

CALLOW.     Then  you  shall  fly  away. 

TAWDRY.     Fly  with  us  —  not  from  us. 

PRUNELLA.     Oh,    please    stop  —  you   make   me   so 
giddy. 

PIERROT,     Scaramel,  bring  her  to  me  ! 

PRUNELLA.     Go  right  away  !    Oh,  what  do  you  want  ? 

PIERROT.     What  do  I  want  ? 

SCARAMEL.     Master,  what  do  you  want  ? 

ALL.     What  do  we  want  ? 

PIERROT.     Well,  I'm  hungry. 

PRUNELLA.     Oh,  are  you?     I'm  sorry.     I'll  fetch  you 
some  bread  in  a  minute. 

ALL.     Bread  —  dry  bread  ?     Oh,  no. 

PRUNELLA.     And  butter. 

SCARAMEL.     Bread  and  butter,  miss? 

PRUNELLA.     Well,  cake. 


ACT  i]  PRUNELLA  31 

PIERROT.     Neither  bread,  nor  butter,  nor  cake. 
PRUNELLA.     Then  you  can't  be  really  hungry. 
PIERROT.     Call  it  thirst.     My  lips  are  dry. 
Give  me  —  give  me  a  kiss. 

ALL.     Give  him,  oh  give  him  a  kiss. 
DOLL.     Do  give  him  a  kiss. 
SCARAMEL.    You'rc  to  givc  him  a  kiss. 
PRUNELLA.     That  won't  cure  hunger  and  thirst. 
PIERROT.     It'll  cure  my  hunger  and  thirst. 

PRUNELLA.      A  kiss  ? 

PIERROT.    Just  a  kiss. 

PRUNELLA.     But  that's  nothing.     I  kiss  people  often 
—  regularly. 

ALL.     Regularly  —  oh ! 

SCARAMEL.     Ncvcr  do  things  regularly. 

PIERROT.     To  love  —  it's  everything. 

PRUNELLA.      To  love? 

ALL,     Love. 

PRUNELLA.     What  is  making  you  look  so  unhappy? 

PIERROT.     Love. 

PRUNELLA.     Is  it  lovc  that  has  made  you  so  pale? 

PIERROT.     Just  love ! 

[The  rest  of  the  mummers  begin  to  adapt  themselves 

to  his  mood  and  come,  stepping  solemnly,  and  listen. 

Sad  music  is  heard. 
PRUNELLA.     Alas !     How   sad   a   sight   you   are   in 

truth! 


S2  PRUNELLA  [act  i 

Is  love  a  thief,  that  you  have  lost  your  youth  ? 

Why,  you  have  turned  quite  white  : 

Your  very  clothes  would  seem  to  share  your  grief  I 

PIERROT.     Yes,  they  went  white  when  I  did. 

PRUNELLA.     When  was  that? 

PIERROT.  Just  now,  when  I  first  saw  you  from  the 
other  side  of  the  hedge. 

PRUNELLA.     You  went  white  then? 

PIERROT.  As  white  as  I  could ;  I  wasn't  nearly  so 
white  till  I  saw  you.  At  times  I  was  so  black  I  ought 
to  have  been  called  Nero  instead  of  Pierrot.  Ah ! 
Now,  don't  be  frightened  —  I  wasn't  quite  black,  just 
a  little  bit  off  colour  here  and  there,  a  sort  of  magpie. 
You  like  magpies,  don't  you  ?  —  women  always  do. 

PRUNELLA  [Innocently.]     I  never  had  a  magpie. 

PIERROT.  Ah !  I  wish  I  had  you  in  my  nest ! 
Oh-h! 

[As  he  leans  towards  her,  prunella  instinctively 
draws  back,  and  screens  her  face.  Suddenly 
PIERROT  falls  into  scaramel's  arms. 

prunella.     What's  the  matter  ? 

coquette.     He's  going  to  faint. 

TAWDRY.     He  has  fainted. 

DOLL.     I  think  he's  going  to  die. 

ROMP.     He's  dead. 

PRUNELLA.  No,  he  isn't.  Don't  say  such  cruel 
things ! 


ACT  i]  PRUNELLA  33 

COQUETTE,     Well,  it  will  be  your  doing. 

PRUNELLA.       No,  nO  ! 

DOLL  [Taking  prunella  by  the  arm,  and  pointing.] 
Oh,, poor  Pierrot !     Look  at  him,  look  ! 

ALL  [Gather  round,  crying.]     0  you  poor,  poor,  poor 
Pierrot ! 

[pierrot  lies  in  scaramel's  arms  with  eyes  shut, 
and  sighs. 

PIERROT  [Faintly.]     Yes,  I  hear  what  you  are  saying. 
That's  me,  that's  me.     Will  nobody  find  me  a  remedy  ? 

PRUNELLA.     Oh,  do,  do,  somebody  find  him  a  remedy  ! 

coquette.     Somebody? 

ALL.     Find  him  a  remedy,  somebody, 
Somebody,  somebody  do ! 
From  the  way  he's  been  taken, 
Unless  I'm  mistaken. 
That  somebody  ought  to  be  you.  [To  prunella. 

What  is  his  malady  ?     Nobody, 

Nobody,  nobody  knows ; 

Unless,  by  your  pardon,  [To  prunella. 

You  live  in  a  garden. 

With  nothing  that  properly  grows  ! 

Find  him  a  remedy,  somebody,  etc. 

[They  seize  prunella,  and  lead  her  up  to  him. 
PIERROT.     Let  her  alone  !     Let  her  go  ! 
Force  is  no  remedy. 


34  PRUNELLA  [act  i 

SCARAMEL.  No. 

PIERROT.     So  the  story  will  never  come  true  ? 

PRUNELLA.     What  do  you  want  me  to  do? 

PIERROT.     The  man  in  the  moon 
Came  down  too  soon, 
And  lost  his  heart  to  a  maiden ; 
With  hunger  and  drouth, 
She  burnt  his  mouth, 
And  left  him  heavily  laden. 

DOLL, 

TAWDRY,     i     Oh,  cruel ! 

COQUETTE.  . 

PRUNELLA.      Do  you  mean  me? 
PIERROT.     Kiss  me  ;  then  you  vnll  see. 
PRUNELLA.     But  why  do  you  wish  for  it  so? 
PIERROT.     Kiss  me  —  then  you  will  know. 
ALL.     Kiss  him  —  then  you  will  know. 

[She  kisses  him.     He  meets  the  kiss  passionately, 

holding    her  fast.     She    is    overwhelmed,    breaks 

from  him,  and  runs  into  the  house. 
PIERROT.     And  now  —  she  knows. 

[A  pause,     coquette  steals  up  to  pierrot. 
COQUETTE.     Was  it  nice? 
PIERROT.     Get  away. 

ROMP.   O  Callow — wilt  and  die,  and  I  '11  kiss  you  to  life! 
HAWK.     Oh,   I'm  lost   to   this   earth.     Rescue  me, 
Tawdry,  with  your  cherry  lips  ! 


ACT  i]  PRUNELLA  35 

PIERROT.     Scaramel,  turn  them  away ! 

scARAMEL.     Pack,  baggages,  pack ! 

KENNEL.     On    the    road    again  —  master    of    my 
master  ? 

SCARAMEL.     Yes.     No,  wait  without. 

DOLL.     Well,  since  we've  seen  the  show  — 

MOUTH.     What  a  pretty  piece  of  fooling ! 

SCARAMEL.     Must  I  tell  you  twice  ? 

TAWDRY.     Save  me.  Hawk  ! 

HAWK.     By  all  means,  my  pigeon.       [Carries  her  off. 

THE  OTHERS.     Back  we  go  —  off  we  go,  etc. 

[They  run  off. 

SCARAMEL.     Master !    We  are  alone :  we  three. 

PIERROT.     We  three  ? 

SCARAMEL.     You,  and  I,  and  the  Key. 

PIERROT.     The  Key? 

SCARAMEL.     It's  the  key  of  the  garden  gate. 

PIERROT.     "What  might  it  unlock  for  her ! 

SCARAMEL.     Well,  master  —  let's  be  getting  on  our 
way. 

PIERROT.     Once  more. 

SCARAMEL.     I'll  drop  it  here. 

PIERROT.     No,  give  it  me  ! 

SCARAMEL.     Magic  attends  on  us.     This  house  has 
been  blind  and  deaf.     The  magic's  fading  now. 

PIERROT  [To  himself.]     To-night,  to-night ! 

SCARAMEL.     Did  you  speak? 


36  PRUNELLA  [act  i 

PIERROT.     I  am  tempted  —  Scaramel. 
SCARAMEL.     Always  yield  to  temptation. 

PIERROT.     Then  to-night 

BOY  [Behind  hedge.]     O  you  naughty,  naughty  birds, 
now  will  you  ? 
Come  into  my  garden,  and  I'll  kill  you  ! 

[piERROT  pockets  the  key,  and  exit  through  hedge. 
O  you  naughty  little  pests,  now  fly,  please ! 
Don't  come  making  nests  in  my  trees  ! 

[scaramel /0//0WS  PIERROT.     Curtaifi. 


ACT  II 

The  same  scene,  night-time.  The  moon  is  rising  away 
to  the  right  of  the  stage.  Its  light  crosses  the  top  of 
the  hedge,  and  strikes  the  head  of  the  fountain- 
statue.  The  sound  of  keys  and  locking  of  gates 
is  heard.  Two  gardeners  enter  with  lanterns  and 
keys.     All  lights  are  out  in  the  house. 

1ST  GAR.     Ay,  they  are  all  a-bed. 

2ND  GAR.     I'm  about  ready  for  mine. 

1ST  GAR.  [Going  off.]     It's  going  to  be  a  clear  night. 

2ND  GAR.     Ay,  full  moon.  Exeunt. 

Enter  pierrot  and  scaramel. 

PIERROT.     Scaramel. 

scaramel.     Master. 

PIERROT.     Have  you  a  ladder  about  you  ? 

SCARAMEL.     No,  master. 

PIERROT.  That  is  very  careless,  to  come  out  at  night 
without  a  ladder. 

SCARAMEL.     Master,  doubtless  one  can  be  procured. 

PIERROT.     One  must  be  procured. 

SCARAMEL.  I  hopc,  master,  you  are  not  doing  this 
deliberately. 

PIERROT.     Give  me  my  guitar. 

37 


38  PRUNELLA  [act  ii 

SCARAMEL.     YouT  guitar  ? 

PIERROT.  I  bought  it,  Scaramel,  I  feel  very  happy 
to-night. 

SCARAMEL.     Anticipation  is  always  delightftil. 

PIERROT.     And  she  shall  be  happy  too. 

SCARAMEL,     She  shall  fulfil  her  little  destiny. 

PIERROT.     I  think  she  is  different  from  any  other. 

SCARAMEL.     You  always  think  that,  master, 

PIERROT  [Offended.]  I  am  sure  she  is  quite  different 
from  every  other. 

SCARAMEL.     O  master,  promise  me  you  will  be  selfish. 

PIERROT.  Scaramel,  have  you  ever  known  me  forget 
myself  ? 

SCARAMEL.     Master,  you  are  almost  all  I  could  wish. 

PIERROT,  Now  for  my  serenade.  Am  I  in  voice 
to-night  ? 

SCARAMEL.     The  bcst  that  money  could  buy. 

PIERROT.     Tenor  or  baritone  ? 

SCARAMEL.      Both. 

PIERROT.     To-night  I  will  sing  tenor. 
SCARAMEL.     Three  times  for  a  tenor,  twice  for  a 
baritone.  [scaramel  claps  three  times. 

Enter  a  tenor. 

PIERROT.     Is  this  it? 
SCARAMEL.     This  is  it. 
PIERROT.     Can  it  speak  as  well? 


ACT  II]  PRUNELLA  39 


scARAMEL.     I  never  inquired. 

PIERROT  [To  TENOR.]     Please  remember,  sir,  that  I 
pride  myself  on  my  voice. 

TENOR.     Your  voice? 

PIERROT.     Oh,  you  can  speak? 

TENOR.     Your  voice ! 

PIERROT.    Well  I've  paid  for  it.     Now,  Scaramel, 
leave  me  to  sing.  [Exit  scaramel. 

TENOR  [Sings.] 
How  now,  everywhere  up  in  air  stars  stare ; 

On  the  roof  shines  the  moon. 
Little  bird  in  your  nest,  are  you  there  ? 

Up    song,  to  her    chamber    go:    say  low,   'Down 
below, 

Thy  love  begs  a  boon.' 
Little  bird  in  your  nest,  are  you  there? 

PIERROT.     How  strange  my  voice  sounds  to-night. 

TENOR  [Sings.] 
Sleep,  sleep,  for  Love's  sake  ler  her  wake, 

Say,  '  Take  no  rest ! ' 
Little  bird  in  your  nest,  are  you  there  ? 

Tame  heart,  take  heat,  go  beat  in  the  small  sweet 
breast. 
Little  dove,  bird  of  Love,  are  you  there? 
Hour  of  night,  at  her  bower  go  beat :  say,  '  Sweet,  now 
rise ! ' 

Time  flies !    O  Love,  are  you  there  ? 


40  PRUNELLA  [act  ii 

Undo  and  renew  to  the  night  the  light  of  your  bright 
blue  eyes ! 

For  the  man  in  the  moon  is  here. 
Do  you  hear  ?     He  is  here  ! 

PIERROT.  Now  stand  back !  [He  takes  the  tenor's 
place.]  Well?  Well?  Well???  Hasn't  she  heard? 
Won't  she  answer  ?  I  sang  that  as  finely  as  ever  I  sang 
it.  Come  here,  Tenor.  Ah,  I  understand.  This 
means  nothing  to  you  —  you  don't  care  a  jot.  You 
sing  what  you're  paid  to  sing,  not  a  note  more.  You 
professionals  will  be  the  ruin  of  art.  Don't  answer  me, 
sir.     Off  with  you  !  [Exit  tenor  ;  exit  pierrot. 

Enter  scaramel,  followed  by  mouth  and  hawk  bringing 
gardener's  boy  captive. 

scaramel.     Bring  him  along,  bring  him  along  ! 

BOY.     Here,  I  say  !     You  are  pinching  of  me  ! 

scaramel.     Are  you  pinching  him,  Hawk? 

HAWK.     No,  but  I  will. 

BOY.     I'll  yell. 

SCARAMEL.     Don't  let  him  yell. 

MOUTH  [Putting  his  hand  over  boy's  mouth.]  Now 
then.  [hawk  pinches  him;  an  inarticulate  sound. 

BOY.     I  did  yell  —  inside  myself ;  oh,  and  it  hurts  ! 

SCARAMEL.     That's  all  right. 

BOY.  Ho,  lor !  Why,  you  be  the  mummers.  I 
thought  you  was  thieves. 

SCARAMEL.     Impudent  bumpkin !     Pinch  him  again ! 


ACT  n]  PRUNELLA  41 

BOY.  Naow !  Steady  on,  steady  on.  Why,  I  was 
lookin'  for  you  when  you  found  me.     Ha,  ha  ! 

ALL.     Ba-a-a-a. 

BOY.  I  want  to  run  away  with  you  and  be  a 
mummer. 

ALL,      Oh ! 

CALLOW.     That  will  be  nice. 

BOY.     I'm  glad  you're  glad.     What's  your  name ? 

CALLOW .  Christopherothchilyoctopusomegatommy- 
rotempusemulsio  Smith. 

BOY.  It's  a  nice  Httle  name.  I'll  get  you  to  write 
it  down. 

MOUTH.     What  shall  we  do  with  him  ? 

SCARAMEL.     What  Can  you  do,  clodhopper? 

KENNEL.     Can  you  sing?     Can  you  dance? 

SCARAMEL.     Can  you  find  US  a  ladder  ? 

BOY.    What  for? 

SCARAMEL.     Don't  ask  silly  questions. 

HAWK.     Why,  for  fun. 

BOY.     There's  one  by  the  shed. 

SCARAMEL.      Fctch  it. 

BOY.     To  the  right,  round  the  comer. 

SCARAMEL.  Quietly.  [Exeunt  three  of  the  mummers.) 
And  so,  my  innocent  young  friend,  you  want  to  see 
the  world  ? 

BOY.    Ah,  what  I  says  is,  give  me  Life. 

SCARAMEL.     Havc  you  money  ? 


42  PRUNELLA  [act  ii 

BOY,     No  ;  I'll  earn  it  by  playing  the  fool. 

SCARAMEL,     Quite  likely. 

BOY.    Just  as  you  do. 

SCARAMEL.     Now  you  Can't  come  alone. 

BOY.     Can't  I  ? 

SCARAMEL.  Not  with  US ;  you  must  bring  a  maid 
with  you. 

BOY.     Oh,  I  can  wait  on  myself. 

SCARAMEL.  Come,  is  there  no  pretty  maid  in  the 
house  —  one  that  you'd  like  to  see  Life  with  for  a  bit  ? 

BOY.     Oh,  now  I  take  you. 

SCARAMEL.     Whosc  window  is  that  ? 

BOY.  Oh,  that  Aunt  Prude's.  I  won't  have  her. 
She  snores.     Quiet  now,  and  you'll  hear  her. 

SCARAMEL.     The  next  ? 

BOY.     That's  a  passage. 

SCARAMEL.     Well,  the  one  beyond. 

BOY.  Never  you  mind.  I'll  have  her  if  she'll  come. 
We  must  wait  till  to-morrow  to  ask. 

SCARAMEL.     That's  Miss  Prunella's. 

BOY.     You  are  quick. 

SCARAMEL.  Thank  you,  that's  what  I  wanted  to 
know. 

HAWK.     What  now? 

SCARAMEL.  Oh,  tie  him  up  somewhere  safe  and  quiet. 
[SCARAMEL  goes  to  Jetck  PIERROT.  The  ladder  is 
brought  on. 


ACT  II]  PRUNELLA  43 

BOY.     Tie  me  up  somewhere  ? 

HAWK.     No  nonsense  !  you're  one  of  us  now.     Dare- 
devil's your  name. 

BOY.     No,  it  isn't. 

HAWK.     And  now's  your  time  to  carry  her  off. 

BOY.     What !     Wake  her  up  at  this  time  o'  night  ? 

MOUTH.     There's  the  ladder  against  her  window. 

KENNEL.     Now  Serenade  her. 

BOY.     Sera  — 

KENNEL.     Sing  to  her. 

BOY.     My  !    That'd  wake  her. 

CALLOW.     Then  up  you  go. 

MOUTH.     And  in  at  the  window. 

BOY.     Oh,  I'm  feared  she'd  think  I  was  intruding. 

HAWK.     Bah  !  you're  afraid. 

BOY.     No,  I  ain't.     But  is  it  good  manners?     I've 
been  brought  up  well. 

MOUTH.     First  you  must  sing.     Here's  my  mandolin. 

BOY.     What  must  I  sing  ? 

CALLOW.     That  your  heart  is  fluttering  like  a  little 
dicky-bird. 

BOY.     I  don't  think  I  know  that  one. 

MOUTH.     What  do  you  know  ? 

BOY.     Well,  will  this  do  ?     '  O  you  naughty,  naughty 
birds,  now  will  you  — ' 

[PIERROT  comes  in  followed  by  scaramel. 

PIERROT.     What's  this  ? 


44  PRUNELLA  [act  ii 

BOY.     Now,  you  put  me  off. 

scARAMEL.  Put  him  safe  somewhere,  didn't  I  tell 
you? 

HAWK.     Come  now,  you  shall  finish  it  later. 

BOY.     '  Come  into  my  garden,  and  I'll ' what  are 

you  doing  ? 

KENNEL.     Truss  him  tight. 

BOY.     This  ain't  part  of  the  game. 

MOUTH.     Yes,  it  is. 

BOY.     This  ain't  seeing  Life. 

CALLOW.     Oh,  yes,  it  is. 

BOY.     Now  you  let  me  go,  or  I'll  holler. 

HAWK.     Oh,  no  you  won't.  [Gags  him. 

SCARAMEL.  Now  Hsteu  to  me,  my  rustic  friend. 
You're  a  clod,  and  must  stay  a  clod.  Don't  be  flying, 
or  you'll  come  to  grief.  Can  you  hear  me?  That's 
right.  Think  it  over  till  morning  under  the  hedge. 
Now  roll  him  away.  [They  roll  him  up  to  the  hedge. 

HAWK.     Roly-poly  gardener's  boy. 

MOUTH.     Safe  like  a  hedgehog. 

CALLOW.     Good-night. 

MOUTH.     Sleep  well. 

SCARAMEL  [To  PIERROT.]  Ycs,  master,  that's  her 
window. 

PIERROT.     Ah,  my  bird, 

Be  not  too  tame  ! 

SCARAMEL.     Master,  we  wait  your  word. 


ACT  ii]  PRUNELLA  45 


PIERROT.     Come,  comrades,  then,  stand  back  into 
the  shade ! 
Round  us,  night  opens  her  sweet  ears  afraid, 
Dusk  in  her  eyes.     Now  call !  and  like  a  snare 
Send  invitation  up  through  the  soft  air. 
To  that  well-feathered  nest  that  lacks  its  pair ! 
ALL  [Sing.] 

Sleeper,  awake,  arise,  look  out ! 
HAWK.     The  night  owl  calls  and  bats  are  about. 
ALL.     And  we  call,  too.     Come  down,  Pierrette ! 
ROMP.     Here  in  our  midst  there's  sport  and  to  spare. 
COQUETTE.     Here  with  us  there's  a  heart  to  share. 
TAWDRY.     Lie-a-bed,    lie-a-bed,    why    d'you    stay 

there  ? 
ALL,     What  means  waiting  ?     Come  down,  Pierrette  ! 
KENNEL.     Here   over   morals   the   moon   throws   a 

shade. 
MOUTH.     Here  with  us  there's  a  game  to  be  played. 
HAWK.     Here  where  the  merry-thought  waits  for  the 

maid. 
ALL.     Why  are  you  waiting  ?     Come  down,  Pierrette  ! 
CALLOW,     Come  and  find  comfort,  come  down,  down, 

down ! 
DOLL.     So  we  are   to  have  another  queen  again? 
Will  you  serve  her  ? 
COQUETTE.     Perhaps  —  as  she  deserves, 
TAWDRY,     I'll  not. 


46  PRUNELLA  [act  ii 

ROMP.     Ah,  you're  jealous. 

TAWDRY.  I  ?  What  for !  A  mere  penny-toy  like 
her? 

PIERROT,     The  curtain  stirred  ! 
SCARAMEL,     Back  there  into  the  shade  ! 

[They   all   shrink   back   into   the   shade,     pierrot 
remains  alone,     prunella  opens  her  window. 
PRUNELLA.     Who  is  there?    Who  are  you? 
PIERROT.     The  man  in  the  moon. 
PRUNELLA.     Oh  !    Why  have  you  come  back? 
PIERROT.     You  called  me  !     I  came  soon. 

PRUNELLA.       I? 

PIERROT.  You  called  me  in  a  dream;  and  in  a 
dream  I  came. 

PRUNELLA.     No  —  for  I  havc  not  slept. 

PIERROT.  You  are  asleep  now.  Will  you  not  come 
down? 

PRUNELLA.     Asleep  ? 

PIERROT.     Will  you  come  down? 

PRUNELLA.     How  Can  I  come? 

PIERROT.  See  !  Out  here  waiting  for  you  is  a  ladder 
of  dreams.  Come  down,  and  the  dream  will  come 
true ! 

[Pauses.     She  makes  no  sign.] 
Shall  I  come  up  and  be  your  dream  ? 
Speak,  give  me  a  sign  !     [She  shakes  her  head.] 
Then  come  down,  and  be  mine ! 


ACT  II]  PRUNELLA  47 

PRUNELLA.     Ah,  but  I  dare  not !    Oh,  what  would 
they  say  if  they  knew  ? 

PIERROT.     They  would  say  nothing.     They  won't 
mind,  they  are  asleep  too. 
People  when  sleeping  come  out  of  their  shells  and  find 

wings: 
Dreaming,  they  wake  to  a  world  full  of  beautiful  things. 
They  become  wise,  they  open  their  eyes  and  can  see ; 
They  become  happy  and  young,  they  become  free  ! 

PRUNELLA.  Pierrot,  is  it  you,  is  it  you  that  is  saying 
all  that ;  or  is  the  world  talking  to  me  in  its  sleep  ? 

PIERROT.     It  is  the  world,  Pierrette,  and  Love  ! 

PRUNELLA.  Just  now  I  heard  voices  calling  me  from 
below  and  now  I  seem  to  hear  them  again. 

PIERROT.     Tell  me  what  they  say  ? 

PRUNELLA.  All  the  things  I  have  ever  said  to  myself 
and  wished  to  be  true.  The  trees  say,  '  Come  and  hide 
in  us ! '  The  grass  says,  '  Come  and  walk  on  me ! ' 
The  dewdrops  say,  '  Come  and  dance  with  us  ! '  And 
the  air  is  like  milk  and  honey  to  my  lips  as  I  lean  out 
and  breathe. 

PIERROT.  And  the  moon  says,  *  I  am  full  of  love,  and 
my  beams  bring  happiness  ! ' 

PRUNELLA  [Sighs.]     Ah ! 

PIERROT.  Pierrette,  it  is  already  time  for  us  to  say 
good-bye. 

PRUNELLA.     Where  are  you  going  now ? 


48  PRUNELLA  [act  ii 

PIERROT.  To  my  playground,  the  world:  where 
the  gardens  have  no  hedges  and  the  roses  no  thorns, 
and  where  all  birds  fly  free.  Pierrette,  Pierrette,  come 
out  of  your  cage  !     Come  down  ! 

PRUNELLA.  I  —  I  must !  FoT  a  moment  —  for  a 
moment  only ! 

PIERROT.     Life's  but  a  moment. 

[piERROT  makes  a  signal  to  scaramel,  who  gives  him 
doll's  cloak.     He  runs  with  it  up  the  ladder  and 
receives  prunella  in  his  arms. 
DOLL.     P'fT,  I'm  cold !     It  was  I  said  I'd  be  nice  to 
her,  and  now  they  take  my  cloak. 

callow  [Embracing  her.]     Let  me  warm  it  again ! 
DOLL.     I  don't  want  you. 
CALLOW.     None  of  me  ?     Oh,  feel  my  heart ! 
romp.     Oh,  look,  he's  bringing  her  down ! 
ALL.     Pierrette,  Pierrette ! 

[piERROT  and  PRUNELLA  advance;   he  holds  up  his 
hands  for   silence.     They   all   stop   and   become 
solemn,     prunella  stands  very  still. 
PIERROT.     Now  you  are  come,  tell  me  what's  in  your 

mind. 
PRUNELLA.     The  love  I  fear  to  lose,  the  love  I  find: 
Those  who  might  miss  me  —  those  whom  I  might  miss. 
PIERROT.     Forget,    let    the    rest    go !     Remember 
this !  [Kisses  her  on  the  lips. 

PRUNELLA.      Ah ! 


ACT  ii]  PRUNELLA  49 

PIERROT.     Flower  of  night,  flower  of  night ! 

Come  and  stand  within  the  light, 

And  look  into  the  heavens  above, 
, ,     Where  the  moon  hangs  like  a  hive, 

And  the  stars  are  all  alive ; 

For  the  stars  are  the  bees  of  love. 

Flower  of  night,  flower  of  night ! 

My  love  and  my  delight ! 

Oh,  come,  and  we  will  be  there  soon ! 

Where  the  night  waits  warm, 

And  the  bees  all  in  a  swarm 

Are  hanging  honey  up  to  the  moon ! 

Flower  of  light,  dear  delight. 

Let  our  bed  be  there  to-night ! 

Oh,  come,  and  we  will  sleep  there  soon ! 

And  there  we  will  dwell, 

Two  hearts  in  one  cell. 

And  eat  up  all  the  honey  in  the  moon. 
[While  the  song  goes  on,  the  rest  have  crept  away, 

finger  on  lip,  leaving  the  lovers  alone.     Now  they 

creep  from  behind  the  hedges,  repeating  the  last  line. 

A  murmur  of  'Queen-bee,  Queen-bee!'  rises. 
PIERROT.    Why  do  you  stand  so  still  ? 
PRUNELLA.  It  is  too  far 

For  me  to  go. 


50  PRUNELLA  [act  n 

PIERROT.         Why,  what  a  child  you  are ! 
Do  far  things  frighten  you  ? 

PRUNELLA.  Where  should  I  be 

In  the  great  erhpty  world  ? 

PIERROT.  You'd  be  with  me. 

PRUNELLA,     Always? 

PIERROT.     Yes,  practically  always.     Come ! 
PRUNELLA.     No,  loosc  my  hands,  let  be !    I  must  go 

home. 
PIERROT.     Thy  home  is  Love.     Sweetheart,  speak 
truth  and  tell : 
At  this  cold  fountain  learn  Love's  oracle  ! 

[He  leads  her  to  the  fountain:    all  the  mummers 
wrap  themselves  in  cloaks  and  follow  in  procession; 
they  stand  looking  on,  while  pierrot  and  pru- 
nella advance  towards  the  statue. 
PIERROT.     Here  turned  to  stone 
The  God  of  Flame 
Stands  all  alone, 
And  mocks  his  name : 
Bereft  of  breath 
He  stands  and  looks  like  death ! 

Mute  on  his  viol 

Lies  his  bow ; 

As  on  a  dial 

Here  shadows  show,  — ■ 


ACT  II]  PRUNELLA  51 


O  heavy  crime  !  — 
The  waste,  the  waste  of  time ! 
PRUNELLA  [Kneeling.] 

O  stony  youth, 
Mute  hps,  blind  eyes, 
Reveal  the  truth ! 
Awake,  arise ! 
Tell  me,  oh,  tell, 
If  Love  indeed  be  well ! 
[Pause.     LOVE  wakes.     He  draws  his  bow  across 
his  viol  and  speaks. 
LOVE.     Yea,  hearken  to  the  lips  of  Love  ! 
Where  he  abideth  all  is  well. 
His  eyes  do  move  the  stars  above. 
He  holds  the  Heavens  beneath  his  spell ; 
And  in  thy  heart  thou  hear'st  the  chime 
Of  Love  whose  feet  shall  outrun  time. 
[The  MUMMERS  make  a  circle  about  the  lovers,  and 
move  slowly  round  them  in  solemn  procession. 
PRUNELLA.     I  hear  the  sound,  I  must  obey ! 
Ah,  where  am  I  since  yesterday  ? 

PIERROT.     Years,  and  a  hundred  leagues  away ! 
PRUNELLA.     There  I  find  thee,  O  swiftest  foot  on 

earth ! 
PIERROT.     So  runs  my  wish :    [To  himself^  —  which 

yesterday  had  birth. 
PRUNELLA  [Turning  to  look  hack  at  her  window.] 


52  PRUNELLA  [act  ii 

Yet  see,  look  there  :  how  desolate  it  seems  ! 
Let  me  go  back  and  gather  up  my  dreams, 
Where  I  have  slept  so  well ! 

PIERROT.  You  must  forget 

Your  former  dreams,  now  you  are  Pierrette. 
PRUNELLA.     Why  force  me  thus  to  go  ? 
PIERROT.     Nay,  you  are  free. 
PRUNELLA.     Let  me  stay  here  ! 
PIERROT.     Then  do  not  come  with  me.  [Pause.] 

See  yonder  star,  and  yonder  see ! 
And,  up  above,  the  milky  way  ! 
But  yonder  is  the  star  for  thee. 
Where  we  shall  be  ere  dawn  of  day,  — 
Up  hill,  down  dale,  and  far  away. 
PRUNELLA.     One  hangs  on  yonder  cypress  spray : 
Nay,  look  how  pale  and  wan  for  proof 
He  hangs,  imploring  me  to  stay ! 
And  one  goes  down  behind  the  roof. 
Where  shall  I  be  ere  dawn  of  day  ? 
PIERROT.     Years,  and  a  hundred  leagues  away ! 
[A  dance  begins  round  the  two  lovers.     At  intervals 
LOVE  strikes  a  note  on  his  viol  which  gives  the  heat 
to   the   other   music.     The   Columbines   take   of 
prunella's  cloak  and  reveal  her  as  a  pierrette. 
They  pelt  her  with  white  blossoms,  till  she  seems  a 
cloud  of  flowers      At  the  end  of  the  dance  pierrot 
advances  and  crowns  her  with  a  wreath  of  jiowers. 


ACT  ii]  PRUNELLA  53 


PIERROT.     What  you  have  dreamed  to-night,  do  not 
forget. 
Farewell,  Prunella ! 

PRUNELLA.  I  am  —  Pierrette ! 

[love  strikes  a  note  on  his  viol,  prunella  throws 
up  her  arms  in  a  gesture  of  surrender,  and  flies 
into  Pierrot's  arms.  He  lifts  her  bodily  and 
carries  her  away.  There  is  a  burst  of  laughter 
from  the  mummers  :  they  pelt  the  statue  with 
flowers,  and  romp  of.  After  a  minute  enter  the 
two  gardeners  with  heavy  staves  and  a  lantern. 
The  cuckoo  clock  in  the  house  strikes  three.  They 
search  round  timorously  and  scratch  their  heads. 
One  of  them  sees  the  open  window  and  ladder,  and 
mounts  to  look  into  the  empty  chamber.  The 
gardener's  boy  rolls  out  from  under  the  hedge, 
frightening  the  other  gardener  terribly,  love 
draws  his  bow  and  strikes  a  triumphant  note. 
The  gardener  dashes  towards  him  and  strikes  him 
with  his  staff.  The  bow  falls  broken  from  love's 
hand. 


ACT  III 

Three  years  have  elapsed.  Sunset.  The  garden  is  over' 
grown,  weedy,  and  neglected.  The  fountain  is 
moss-grown  and  thick  with  creepers.  The  house- 
shutters  are  closed,  all  but  one  or  two;  a  notice 
*  To  Let '  stands  near. 
The  BOY  is  discovered  dragging  gardening  tools  across  the 
stage  in  a  listless  and  desultory  fashion,  piling 
them  on  a  bench,  or  packing  them  into  an  open 
hand-barrow. 
BOY  [Sings  dolefully.] 

My  father  said,  my  father  said : 

What  did  my  father  say  ? 
*So  long  as  you  stands  on  yer  'ead 
You're  sure  to  find  yer  way  ! ' 
'UUo !  there's  that  bird  again.     Waits  till  'ie  sees  me 
pack  my  clappers  and  then  he  begins  of  'imself .     Sh ! 
Sh !     You  just  get  out  till  I'm  gone  !    Take  that,  and 
say  I  told  yer ! 

[Throws  stone,  and  then  begins  to  wheel  away  hand- 
barrow.] 
Three  years  ago  he  told  me  so  : 
But  when  my  thoughts  do  run, 

54 


ACT  III]  PRUNELLA  55 

Then  all  the  work  I  'ad  to  do 
I  'as  to  leave  undone. 

QUAINT  [Entering  from  house.]  Boy !  here,  boy ! 
leave  the  spade. 

BOY.     Boy  yerself  !     Who  are  you  talking  to? 

QUAINT.     Why  don't  you  come  when  you  are  called? 

BOY.  If  you  requires  to  attract  my  notice,  you 
better  say  '  Mister  Gardener ' ;  else  I  mayn't  'ear  yer. 

QUAINT.     Pooh ! 

BOY.  When  you  come  into  my  garden,  you  acts 
according.  I  don't  come  and  poke  my  'ead  into  the 
'ouse  and  say,  '  Gal !  old  gal ! '  do  I  ?  Gardener's  what 
I  am  now  —  same  as  I'm  always  telling  yer. 

QUAINT.     Fine  Gardener  indeed ! 

BOY.     'Ead  gardener. 

QUAINT.  Well,  I  doubt  if  the  new  owner'U  take 
you  on,  when  he  sees  the  state  the  garden  is  in  now. 
Have  you  taken  all  the  tools  down  to  the  cottage  ? 

BOY.  If  you'd  eyes  in  yer  'ead  you'd  see.  'T's 
what  I'm  doing  now. 

QUAINT.  Mistress  informed  me  to  tell  you  that  she 
wants  all  the  flowers  from  Miss  Prunella's  garden  taken. 
You'd  better  come  back  for  them  afterwards  :  leave  the 
spade ! 

BOY.  Leave  the  garden !  There's  missis's  bell  a- 
hollering  for  yer  !     You  go,  or  you'll  catch  it. 

QUAINT.     Pho !  [Exit  into  house. 


56  PRUNELLA  [act  hi 

BOY  [Trails  across  to  bench,  leaves  broom,  and  takes 
spade  with  him,  crossing  in  front  of  statue.]  What  are 
you  looking  at  me  for  ?  —  ain't  said  nothing  to  you. 
[Retires  up  with  hand-barrow.  Enter  privacy  followed 
by  QUAINT :  she  descends  slowly  and  enters  the  garden. 
QUAINT  locks  the  door  and  signals  contemptuously  to  boy 
to  go.  PRIVACY  sighs,  QUAINT  echocs  her  with  exaggerated 
sentiment  to  convey  sympathy  and  attract  approval. 
Exit  BOY  slowly,  imitating  quaint's  sigh  as  he  goes. 

QUAINT.     Hem ! 

PRIVACY.  Have  you  the  keys?  Is  everything 
locked  now  ? 

QUAINT.  Everything  that  would  lock,  ma'am ! 
Some  of  the  keys  won't  work. 

PRIVACY.  Oh,  it  doesn't  matter.  There's  nothing 
here  that  any  one  would  want  to  take. 

QUAINT.  Are  we  to  wait  and  give  the  keys  to  the 
gentleman  ? 

PRIVACY.     Yes,  he  will  be  here  presently. 

QUAINT.  Well,  I  do  wonder,  if  he's  such  a  rich 
gentleman  as  they  say  he  is,  however  he  can  care  to 
come  and  live  in  such  a  place  —  as  it  is  now. 

PRIVACY.     He  does  not  intend  to  Hve  here. 

QUAINT.  Oh,  if  he  only  means  to  die  here,  the  place'll 
suit  him  well  enough  !  [Softening.]  I  beg  your  pardon, 
ma'am,  I  didn't  mean  anything.  It  wasn't  that  I  was 
^^hinking  about  —  though  what's  a  black  dress  for,  if 


ACT  ral  PRUNELLA  57 

it  isn't  to  make  you  hang  your  head  Hke  a  tear-drop  ? 
No,  ma'am,  it's  only  this  lonesomeness  gets  so  on  one's 
nerves.  I  wonder  you  could  bring  yourself  to  stay  as 
long,  as  you  have. 

PRIVACY.     I  had  recollections  to  keep  me  here. 

QUAINT.  Ah,  my  poor  mistresses !  They  wouldn't 
have  wished  to  see  you  here,  with  the  place  like  this  — 
all  so  shamefaced  as  it  looks  now  ! 

PRIVACY.     I  had  other  reasons,  Quaint. 

QUAINT.  I  dare  say  you  had,  ma'am.  Most  people 
have  reasons  for  doing  foolish  things. 

PRIVACY.  I  thought  that  some  day  Prunella  might 
come  back,  and  I  could  not  bear  the  thought  of  her 
finding  nobody  here  —  or  only  strangers. 

QUAINT.  Oh,  don't  trouble  yourself,  ma'am !  She 
won't  come  back.  She  has  forgotten  you.  She 
doesn't  care  !  —  going  off  like  that  with  a  lot  of  giddy- 
gaddies. 

PRIVACY.     Perhaps  it  was  we  who  drove  her  away. 

QUAINT.     I  don't  think  she  took  much  driving. 

PRIVACY,  We  old  maids  forget  what  youth  is  like. 
Perhaps  —  without  meaning  to  —  we  made  life  too  hard 
for  her. 

QUAINT.  Ah,  well,  she  has  got  the  making  of  that 
in  her  own  hands  now,  and  they're  about  full,  I'll 
be  bound.  Psh !  You  were  always  softer  than  the 
others.     I  never  heard  them  sav  a  word.     I'd  like  to 


58  PRUNELLA  [act  hi 

have  seen  her  daring  to  put  her  nose  in  here  while  they 
were  aUve ! 

PRIVACY.    Hush  !  [A  bell  rings,    privacy  looks  agitated. 

QUAINT.  Good  lud !  ma'am,  why  do  you  start  like 
that  ?     Now  you're  all  of  a  tremble. 

PRIVACY.     I  always  think  and  hope  — 

QUAINT.  The  gate  always  stands  open,  ma'am. 
She'd  never  ring  the  bell. 

PRIVACY.  No,  she'd  never  ring  the  bell.  The  gate 
stands  open  always,  and  at  night  a  lamp  has  burnt. 

QUAINT.     Shall  I  go,  ma'am  ? 

PRIVACY.     Of  course.     This  must  be  he. 

[quaint  goes. 
How  poor  the  place  is  ;  weeds  are  everywhere. 
Dead  leaves  beneath  one's  feet,  rustling  like  memories : 
Poor,  restless  ghosts  of  unforgotten  time. 

Enter  pierrot  and  scaramel,  shown  in  by  quaint. 

PRIVACY.     Sir,  you  are  very  punctual. 

PIERROT.     Am  I  punctual,  Scaramel? 

SCARAMEL.  Master,  we  have  accomplished  twenty- 
one  miles  in  fifty-five  minutes. 

PIERROT.  That  seems  slow.  So  this  is  the  place  I 
remember. 

PRIVACY.     You  have  been  here  before  ? 

PIERROT.  Once  upon  a  time.  A  charming  dull  spot. 
But  changed,  but  changed. 


ACT  III]  PRUNELLA  59 

PRIVACY.     You  don't  find  what  you  expected  ? 

PIERROT.     Scaramel,  did  I  expect  anything  ? 

scARAMEL.  My  master  now  makes  it  his  rule  never 
to  expect  anything.     So  he  is  never  disappointed. 

PIERROT.  You  wonder,  madam,  what  my  interest 
in  buying  such  a  place  can  be.  I  once  picked  up  here, 
by  chance,  a  treasure,  a  trinket,  which  I  have  since 
lost. 

PRIVACY  [With  sudden  intuition.]     Prunella? 

PIERROT.     I  beg  your  pardon. 

PRIVACY.     Prunella,  Prunella,  Prunella ! 

PIERROT.     I  had  forgotten  her  name. 

SCARAMEL.     We  Called  her  by  some  other. 

PRIVACY.     It  was  you,  it  was  you  1 

PIERROT.     Yes,  it  was  I. 

PRIVACY.    Where  is  she  now  ? 

PIERROT.     I  often  wonder. 

PRIVACY.  Oh,  we  forgave  her  going ;  almost  we 
woiild  have  forgiven  you  the  theft.  But  you  are  heart- 
less. 

PIERROT.  That  is  true.  How  did  you  find  it  out? 
No  matter.     Every  one  finds  me  out  now. 

PRIVACY.     But  tell  me  all  you  know. 

PIERROT.     Tell  her,  Scaramel. 

SCARAMEL.  Madam,  the  story  is  not  interesting 
unless  my  telling  make  it  so ;  and  there  is  much  that 
you  may  not  understand.     I  think  we  may  claim  that 


60  PRUNELLA  [act  hi 


we  educated  her.  Her  education,  madam,  was  very 
deficient ;  she  had  been  much  neglected.  Life  was  a 
dead  letter  to  her.  We  taught  her  everything.  She 
learned  to  dance,  to  laugh,  to  sing,  to  love.  For  a  time 
it  seemed  that  there  was  nothing  she  could  not  learn. 
She  loved  my  master  very  faithfully,  and  my  master 
accepted  the  situation  like  a  man.  He  has  a  tender 
heart,  he  hkes  to  see  happy  faces  around  him,  and  so 
he  took  a  step  which  —  not  through  his  own  fault  — 
led  to  a  Httle  misunderstanding, 

PIERROT.  Scaramel,  I  am  disposed  to  tell  this  my- 
self. But  stay  near  me:  I  may  need  prompting. 
What  was  that  original  remark  I  made  about  women 
the  other  day,  Scaramel  ? 

SCARAMEL.  Master,  you  said  they  puzzled  you. 
PIERROT.  Ah!  It  is  still  true.  They  are  so  illogical. 
Think,  madam,  she  said  she  loved  me  and  yet  she  left 
me  !  Well,  you  shall  hear.  For  two  years  —  it  was 
two  years,  was  it  not,  Scaramel  ?  —  for  two  happy  years 
we  had  wandered  together  from  place  to  place,  seeing 
the  world  —  foreign  countries,  and  people,  and  gay 
towns.  We  danced,  we  laughed,  we  sang.  We  were 
married  —  she  had  wished  it.  [He  shrugs.]  People 
laughed  when  I  told  them  that.  'Pierrot  married!' 
they  said,  'Oh  no!  —  unless  he  has  married  a  dozen.' 
But  we  were  married  —  that  was  what  made  things 
difficult.     I  wasn't  used  to  being  married  —  it's  outside 


ACT  III]  PRUNELLA  61 

my  habits  altogether :  it  was  strange,  and  everybody 
laughed  so.  And  one  day  it  seemed  so  fooHsh  that  I 
—  went  away  and  left  her. 

PRIVACY,     You  said  that  she  left  you. 

PIERROT.  Ah,  not  then,  not  then  !  That  was  later, 
I  left  her  —  sajdng  nothing  :  it  is  so  much  easier  to  say 
nothing  when  you've  nothing  to  say.  But  before  I 
went  I  had  given  her  a  lot  of  money,  and  a  lot  of  pretty 
things,  dresses,  trinkets,  bon-bons  —  ever5rthing  I 
could  think  of  to  make  her  happy  —  except  —  my  love. 
[He  begins  to  be  carried  away  by  his  story,  and  to  lose 
his  pose  of  indifference.]  I  took  that  with  me.  And 
presently  I  found  I  couldn't  get  rid  of  it ;  and  it  grew 
heavier  and  heavier,  till  my  heart  began  to  —  what  did 
my  heart  begin  to  do,  Scaramel  ? 

scARAMEL.  Your  heart  became  bad  company, 
Master. 

PIERROT.  Yes,  it  was  quite  distressing !  I  couldn't 
amuse  myself :  I  couldn't  dance,  or  laugh,  or  sing. 
It  always  came  and  caught  me  by  the  throat,  and  said, 
or  seemed  to  say, '  You  thief  !  you  fool ! '  I  tried  cures ; 
but  they  were  no  good.  And  so,  and  so  —  at  last  I 
went  back  to  see  if  the  cure  was  there. 

PRIVACY.     Yes  ? 

PIERROT.  I  had  been  gone  a  whole  year;  but  I 
came  back  again.  You  see,  now  —  it  was  not  I  who 
left  her ;   she  didn't  wait  for  me  long  enough.     There 


62  PRUNELLA  [act  hi 

was  the  little  house,  just  as  I  had  left  it :  she  hadn't 
taken  a  penny,  she  hadn't  touched  a  thing.  Even  the 
last  thing  I  gave  her  before  I  went  I  found  lying  covered 
over  with  dust  inside  the  empty  house  which  I  opened 
with  my  own  key.  And  in  the  garden  was  a  small 
stone,  and  on  it  was  written  :   'Here  lies  —  Pierrette.' 

PRIVACY.     Who  was  '  Pierrette '  ? 

PIERROT.     You  may  explain  that,  Scaramel. 

scARAMEL.  Pierrette  was  the  name  of  my  master's 
love  for  her.  She  probably  goes  by  some  other  name 
now,  if  she  is  still  alive.  To  us,  of  course,  she  chose  to 
die.     What  may  have  happened  since 

PRIVACY.     You  neither  know  nor  care. 

SCARAMEL.     It  was  an  episode. 

PRIVACY.     I  thank  you  for  the  story,  sir. 

scAR.\MEL.  Not  at  all.  My  master  rather  Hkes 
to  relate  it.  I  notice  it  grows  late.  We  expect  guests. 
They  are  almost  due. 

PRIVACY.  I  will  leave  you  in  full  possession.  My 
maid  will  hand  you  the  keys. 

[quaint  talks  to  SCARAMEL. 

PIERROT.  Madam,  this  seems  almost  like  turning 
you  out. 

PRIVACY.  My  means  no  longer  permit  me  to  Hve 
where  I  would  wish. 

PIERROT.  That  is  a  pity  !  —  not  to  be  able  to  do  as 
one  wishes.     And  you  have  grown  to  be  a  part  of  the 


ACT  III]  PRUNELLA  63 

place :    its   atmosphere   clings   round   you.     Do   you 
mean  to  go  —  quite  away  ? 

PRIVACY.  To  a  cottage  beyond  the  gates.  I  dare 
not  ^o  as  far  as  I  would  wish.     She  might  return. 

PIERROT.     She  —  might  —  return.  Scaramel ! 

Have  you  any ?     [scaramel  gives  him  his  purse.] 

I  fear  you  are  poor  ? 

PRIVACY.  My  poverty  is  not  of  your  making,  and 
my  sorrow  money  will  not  buy  from  me.  I  will  intrude 
no  longer.  [Exit  privacy. 

PIERROT.     Really,  Scaramel,  have  you  no  repartee  ? 

SCARAMEL.     Master,  I  was  not  listening. 

PIERROT.  Then  that  was  as  well.  Give  me  the  key 
of  the  house. 

SCARAMEL  [To  QUAINT.]  Give  me  the  key  of  the 
house. 

QUAINT.     There  are  the  keys. 

SCARAMEL.     Which  is  it  ? 

PIERROT.     Quickly,  quickly. 

SCARAMEL.     Is  it  a  large  key  ? 

QUAINT.  No,  it's  a  small  key.  [He  finds  a  key.] 
That  is  the  key  of  the  garden  gate. 

PIERROT  and  SCARAMEL  [GuHtHy  startled.]     Eh  ? 

QUAINT.     That's  the  house  key. 

[piERROT  takes  it. 

PIERROT.  It's  not  a  watch  key,  nor  a  bed  key,  not 
a  watch  key,  nor  a  bed  key.  [Goes  into  house. 


64  PRUNELLA  [act  hi 

SCARAMEL.     Deaf  me,  now ! 

QUAINT.  Your  master's  mad,  I  don't  mind  telling 
you. 

SCARAMEL.  Original,  my  good  woman :  at  the  most, 
eccentric.     It  suits  him. 

QUAINT.     And  he's  a  villain. 

SCARAMEL.  My  good  woman,  if  you  were  a  little 
more  up  in  the  worid 

QUAINT.     And  if  you  were  a  little  more  up  in  the  world 

—  upon  a  ten-foot  gallows,  you  and  your  master  too 

—  the  world'd  be  sweeter.     He's  a  rogue. 
SCARAMEL.     If  you  Were  more  up  in  the  ways  of  the 

world,  you'd  know  that  it's  usual  for  us  to  abuse  our 
own  masters,  not  each  other's. 

QUAINT.  Well,  my  mistress  is  a  fool,  but  he's  a 
scoundrel.     What's  he  come  back  here  for? 

SCARAMEL.  Would  you  Understand  if  I  said  *to 
lay  a  ghost '  ? 

QUAINT.     No,  I  shouldn't. 

SCARAMEL.     Then  I  won't  tell  you. 

QUAINT.  Ghost  indeed  !  He's  little  better  himself  ! 
A  whited  sepulchre's  what  he  is.  Silkworms'll  eat 
him !  I  can  see  his  angling  skeleton  grinning  out  of 
him  already.  Yours  too.  Yours  is  a  black  one. 
Whalebone. 

SCARAMEL.  My  good  woman,  you  have  no  dignity. 
Masters  aren't  worth  quarrelling  about.     They  mean 


ACT  III]  PRUNELLA  65 

wages,  nothing  more.     There  are  good  places  and  bad 
places.     Now,  I'm  busy  :  you'd  better  go  ! 

QUAINT.  Well,  you'll  find  your  place  some  day. 
[Points  down.]  [Exit  quaint. 

SCARAMEL  [Smiling.]  Now,  that's  a  woman's  way 
of  saying  it,  and  neat  too.  Well,  I  must  buck ;  there's 
a  lot  to  be  done  ! 

Enter  kennel. 

CALLOW  [Outside.]     O  you  little  moulting  birds,  now 
will  you 
Come  into  my  garden,  and  I'll  kill  you  ! 

Enter  callow. 

KENNEL.  What  ho,  Scaramel !  Hark  to  this  belated 
youth ! 

SCARAMEL.  That's  just  what  he  is,  a  belated  youth. 
Where  are  the  rest  ? 

KENNEL.  How  should  I  know  ?  Lost  their  way, 
most  likely. 

SCARAMEL.  Well,  you'vc  found  yours.  You  are 
in  luck. 

Re-enter  boy,  with  spade  on  shoulder. 

BOY.     Why,  it's  the  mummers  ! 
CALLOW.     Who's  that?     What   has  he  got  in  his 
hand? 

KENNEL.     A  spade ! 


66  PRUNELLA  [act  hi 

CALLOW.     Who  are  you  ? 

BOY.  Me?  'Im  as  you  tied  up  and  put  under  the 
'edge  that  night.     Saucy  'ounds  you  was,  too  ! 

SCARAMEL.     And  what  are  you  here  for  now? 

BOY.  'Ere  for  now?  Why,  I'll  tell  yer  —  what 
I  'as  to  tell  everybody  —  I'm  'ead  gardener  here  now ; 
and  I'm  diggin'  'oles  to  bury  you  in  —  'ead  downwards 
—  make  yer  'air  grow,  same  as  mine  —  so  you  won't 
know  yerselves.  [Departing  with  dignity. 

CALLOW  and  kennel  [Laughing  foolishly.]  Hee-hee  ! 
Hee-hee  !    Won't  know  ourselves,  eh  ? 

[They  stop  abruptly. 

BOY  [Returning.]  Say,  I'm  glad  I  didn't  come  with 
you  when  you  ast  me.  Why,  you  are  only  a  lot  of 
scarecrows  after  all !  Good-night,  bawly  'eads ;  sleep 
well,  and  don't  let  the  ghosts  wake  yer  before  it's 
time.  [Exit. 

CALLOW.     Ghosts?     I  don't  like  that  fellow. 

KENNEL.     No ;  and  he  doesn't  like  us. 

CALLOW.     Once  he  wanted  to  come  with  us. 

KENNEL.     Times  have  changed.     Come,  scarecrow ! 

CALLOW.     What,  you  Httle  jays  and  jackdaws,  will 
you 
Come  into  my  garden,  and  I'll  kill  you  ! 

[piERROT  conies  out  of  the  house,  and  passes  without 
observing  them ;  they  enter  it'. 

SCARAMEL.     Havc  you  any  further  orders,  master  ? 


ACT  III]  PRUNELLA  67 

PIERROT    [Abstractedly.]     Oh,    go   to   Scaramel,    ask 
him !  [scaramel  starts. 

[piERROT  goes  towards  fountain. 
Scaramel,  who  was  that  spoke  to  me  just  then? 

SCARAMEL.     Master,  the  air  of  this  place  is  not  good 
for  you.     Would  it  not  be  better  if 

PIERROT.     If    you    changed    it?     Yes,    change    it, 
Scaramel,  change  it  by  all  means,  if  you  can.     Clear  jto 
of  its  vapours,  tell  the  stm  to  rise,  and  the  birds  to,  '■i>ing  ! 

Enter  hawk  and  mouth  with  tawdp-s^. 

TAWDRY.     Lud,  it's  a  weary  way  here. 
MOUTH.     I  don't  think  much  of  the  place,  now  we've 
got  here. 

HAWK.     Why,  then  it's  as  well  I  can't  see^  it. 
SCARAMEL.     Comc,  you'll  feel  better  by  suppertime. 
MOUTH.     No,  my  appetite's  gone. 
SCARAMEL.     But  you'rc  still  greedy. 
MOUTH.     I'm  losing  my  teeth. 
TAWDRY.     Times  have  changed. 
HAWK.     Times  have  changed. 
MOUTH.     Times  have  changed. 

[They  go  into  the  house. 
SCARAMEL.     Master ! 
PIERROT.     Alone  at  the  end  of  the  day, 

As  the  sick  world  grins  by, 

Stands  this  house 


68  PRUNELLA  [act  hi 

SCARAMEL.     Master ! 

PIERROT.      Eh  ? 

SCARAMEL.     The  Company  arrives. 

PIERROT.     My  friends  ? 

SCARAMEL.     Your  guests. 

PIERROT.     Not  the  same  thing,  is  it,  Scaramel? 

SCARAMEL.  You  will  remember,  sir,  we  are  out  of 
i-friends  for  the  moment.  [doll  runs  on. 

Dc^LL.  Oh,  I'm  lost,  I'm  lost  in  this  ugly  garden. 
They've  left  me  all  alone. 

PIERROT.     Are  you  afraid  ? 

DOLL.     Y  es,  very. 

PIERROT.     What  sort  of  company  d'you  want? 

DOLL.     I  m  not  particular. 

piERRO'  .     No,  truly.     There's  the  house,  get  inside. 

DOLi       Won't  you  come  ? 

P"  iRROT.     Not  yet.  [doll  goes  in. 

PIERROT.     Who's  that  old  woman? 

SCARAMEL.  Master,  that's  Doll  with  the  painted 
smile  and  her  little  turned-in  toes.  You  remember 
her? 

PIERROT.     She  has  grown  old. 

SCARAMEL.  Then  there's  Hawk,  and  Callow,  and 
Kennel,  and  Mouth. 

PIERROT.     Faithful  followers  of  my  purse. 

SCARAMEL.     Master,  they  must  live. 

PIERROT.    They  call  it  living. 


ACT  III]  PRUNELLA  69 

SCARAMEL.     Then  there's  Coquette. 

PIERROT.     Ah,  she's  been  precious  in  her  time. 

SCARAMEL.  H'm  !  her  modesty's  down  at  ankle  now, 
like, a  slipt  garter.  Romp's  a  little  heavier  on  the 
bounce  than  she  used  to  be.  Tawdry's  much  as  usual, 
but  dressed  worse  than  ever,  and  costing  more.  The 
old  faces,  master,  as  you  desired  ? 

PIERROT.  Well,  if  they'll  help  me  to  remember,  or 
to  forget.     Either  way,  either  way. 

SCARAMEL.  H'm!  [He  goes  into  the  house ;  laughter 
is  heard. 

PIERROT  [Sits  listless  by  fountain,  and  gazes  all  round 
and  up  at  house.]     How  now  — 

[Fingers  his  guitar  doubtfully. 
How  now,  everywhere,  up  in  the  air,  stars  stare ! 
Little  bird  in  your  nest,  are  you  there  ? 

[Lets  his  guitar  fall  dejectedly. 
No  answer !  [After  a  pause  he  takes  up  his  guitar  again. 
Sleep,  sleep,  for  God's  sake  let  her  wake !  say, 

'  Take  no  rest ' [He  breaks  of. 

I  forget,  I  forget  the  words  that  once  came  of  them- 
selves. 

Re-enter  scaramel,  with  his  fiddle. 

[Angrily.]     Scaramel,  there's  no  tune  in  these  strings. 
They  are  rusty. 
scaramel.     Master,    everything's    rusty    here,    it 


70  PRUNELLA  [act  hi 

seems  to  me.  Nothing  goes  right,  everything  wants 
oiHng.  I  shall  have  more  on  my  hands  than  I 
can  do. 

PIERROT.     Get  the  others  to  help  you. 

SCARAMEL.  They  are  no  good.  One  can't  rouse 
them.     I  think  they  want  a  new  master. 

PIERROT.  Oh  yes,  find  them  one  by  all  means. 
What's  the  matter? 

SCARAMEL.  Kcnnel's  guttering  to  his  end.  Callow's 
brain  is  softening  —  what's  left  of  it.  Mouth  has 
become  a  jibberer ;  you  can  hear  him  now  !  Hawk's 
as  blind  as  a  bat.  Not  one  of  them's  what  he  used  to 
be.    We  are  growing  old,  master. 

PIERROT.     Do  you  remember,  Scaramel,  that  night  ? 

SCARAMEL.  Master,  I  remember  many  nights.  At 
what  hour  shall  dancing  begin  ? 

PIERROT.  Ah,  how  tender  she  was  !  How  fresh  and 
young ! 

SCARAMEL.     Mastcr,  at  what  hour? 

PIERROT.  Oh,  when  3^ou  like,  when  you  like !  She 
stood  by  me  here  at  this  fountain.  Do  you  remember, 
Scaramel  ? 

SCARAMEL.  I  will  remember  anything  you  wish, 
master,  as  soon  as  we  have  made  all  the  arrange- 
ments. 

PIERROT.  Scaramel,  I  believe  this  stone  remembers 
more  than  you.     You  are  very  selfish,  Scaramel.     Life 


ACT  in]  PRUNELLA  71 

to  you  is  a  meal ;  and  there  you  sit  at  it,  with  a  nap- 
kin tucked  up  from  your  waist  to  your  chin,  and 
you  shut  your  eyes  and  open  your  mouth  and  eat. 
And  .when  you  get  up  from  it,  all  your  mind  will  be 
like  a  bill  of  fare ;  just  a  list  of  the  things  you  have 
eaten. 

SCARAMEL.     Possibly,  master.     The  wines  to-night 

are 

PIERROT.     Ah !     [Turns  away  in  disgust,  and  strikes 

his  hand  on  the  fountain. 
O  Love,  your  fountain  has  run  dry, 
And  have  you  lost  your  tongue  ? 
Speak,  stone !  — 
You  see,  Scaramel,  he  won't  answer  me  now. 

SCARAMEL.  Love  never  does  answer,  master,  if  you 
treat  it  too  seriously. 

PIERROT.  That  night  this  stone  thing  seemed  t'o 
have  Hfe  and  speech  !  The  water  sang  to  us,  anr*  music 
seemed  to  come,  one  knew  not  whence.  Scaramel,  have 
you  noticed  the  statue's  bow  is  broken?  I  wish  it  re- 
paired.    See  to  it. 

SCARAMEL.     Instantly,  master ! 

[He  lays  his  fiddle-bow  in  his  hand. 
PIERROT.     Here  turned  to  stone 
The  God  of  Flame 
Stands  all  alone, 
And  mocks  his  name. 


/' 

I 


/ 


/ 


72  PRUNELLA  [act  hi 

Bereft  of  breath 

He  stands  and  looks  like  death. 

[A  pause. 
That  was  not  the  music  of  it. 

SCARAMEL.     Master,  there  will  be  musicians, 
PIERROT.     But  they're  mechanical.     Hark  to  that 
bird,  the  last  in  this  garden,  I  think. 
Sweet,  sweet,  sweet,  throw  it  a  crumb, 

SCARAMEL.  Fivc  courses  for  supper.  Three  wines. 
And  the  dancing.  [He  begins  to  count  on  his  fingers. 

PIERROT.  Ah,  there  again.  Sweet,  sweet,  sweet ! 
No,  bitter  sweet,  bitter  sweet,  bitter,  bitter,  bitter ! 
Yes,  that  fits  best.  So  you've  learned  the  word  too, 
have  you,  little  bird  ?  Have  you  been  round  the  world 
and  loved  more  than  you  meant  to,  and  come  back 
again,  and  found  yourself  all  alone  ?  And  forgetting  — 
torgetting  —  No.     Scaramel !     Scaramel ! 

[As  he  remembers. 

Alone,  at  the  end  of  the  day 

While  the  gay  world  ran  by, 
Stood  a  house  with  a  heart  of  decay, 

Almost  ready  to  die. 

And  everything  there  seemed  to  wait ; 

For  the  hedges  were  thin ; 
And  a  notice  was  up  at  the  gate, 

Begging  Love  to  come  in. 


ACT  III]  PRUNELLA  73 

But  Love  cannot  read  —  he  is  blind, 

So  he  came  there  one  day ; 
And  deeming  the  owner  unkind, 

He  went  his  own  way. 

No,  no  !    For  the  doors  were  set  wide, 

And  the  windows  unfast, 
And  at  night,  while  the  householder  sighed. 

Love  entered  at  last.  [A  gong  is  heard. 

PIERROT  [Panic-stricken.]     What's  that  ? 

SCARAMEL.     Suppcr  is  scrved. 

PIERROT  [Recovering  himself.]     That  matters  most. 
[PIERROT  goes  in,  followed  by  scaramel.     Daylight 
passes  into  dark.     Intermezzo. 
Enter  prunella.     She  sinks  down,  utterly  worn  out. 
Re-enter  scaramel. 

scaramel.    What  are  you  doing  here,  beggar  girl? 

prunella      I've  come  home. 

scaramel.     Some  mistake,  I  think. 

PRUNELLA.     Scaramel ! 

scaramel.     That's  my  name,  and  no  property  of 
yours. 

PRUNELLA.     Don't  you  remember  me  ? 

scaramel.    No. 

Enter  doll  and  coquette. 

DOLL.     Scaramel !    Scaramel ! 
COQUETTE.     Don't  Stay  away. 


74  PRUNELLA  [act  hi 

DOLL.     He's  so  strange  to-night. 
COQUETTE.     You  Understand  him. 

[Exit  SCARAMEL. 

PRUNELLA.     Coquette !     Doll ! 
COQUETTE  and  DOLL,     Who's  this? 
PRUNELLA.     Don't  you  remember  me? 

COQUETTE  and  DOLL.      No. 

PRUNELLA.     I  was  Prunella,  I  am  Pierrette. 
COQUETTE  and  DOLL.     Say  it  again. 

PRUNELLA.      Oh  ! 

Enter  tawdry  and  romp. 

TAWDRY.     Doll  and  Coquette  ! 
ROMP,     You're  to  come  back. 
COQUETTE.     No.     Come  and  look  here. 
DOLL   and    COQUETTE.     She    was    Prunella,    she   is 
Pierrette.     We  don't  remember  her,  do  we? 

TAWDRY   and  DOLL.      No. 

PRUNELLA.  You  loved  me  once,  you  said  you 
loved  me. 

TAWDRY  and  ROMP.     Did  we? 

COQUETTE,     When  was  that? 

ROMP.     Was  it  yesterday  ? 

DOLL.     Or  the  day  before  ? 

COQUETTE.     I  only  just  remember  yesterday. 

TAWDRY.  I  can't  remember  the  day  before;  I 
never  could. 


ACT  III]  PRUNELLA  75 

DOLL.    Nor  I. 

ROMP.    And  as  for  last  week 


COQUETTE.    Or  last  month,  or  last  year. 
DOLL-.     Why,  I  always  forget  how  old  I  am. 
COQUETTE  and  DOLL.     We're  very  sorry. 
ROMP  and  TAWDRY.     But  it  can't  be  helped,  can  it? 
PRUNELLA.     But  what  are  you  doing  here?    This  is 
my  home. 

DOLL  and  COQUETTE.      Is  it? 

TAWDRY  and  ROMP.    We  don't  know. 

PRUNELLA.     This  was  my  home. 

COQUETTE.     Perhaps  it  has  forgotten  you  too. 

DOLL.     You're  very  ragged. 

PRUNELLA.     I  am  poor. 

TAWDRY.    And  pale. 

PRUNELLA.     I'm  weary. 

ROMP.     And  downcast. 

PRUNELLA.    I'm  disappointed. 

ALL  FOUR.     No  wonder  that  we  can't  remember  you. 

PRUNELLA.  I  have  come  so  far,  and  now,  no  wel- 
come. 

ROMP.     Are  you  hungry,  too  ? 

PRUNELLA.     I  dare  say. 

ROMP.  Well,  if  I  were  you  I'd  get  some  food  from 
somewhere.     You'll  feel  better  then ! 

[SCARAMEL  COfKCS  bock. 

SCARAMEL.     Now,  baggages,  you're  called  for. 


76  PRUNELLA  [act  hi 

PRUNELLA.     Scaramel,  where's  your  master? 

scARAMEL.     In  the  house. 

PRUNELLA.     I  must  See  him. 

SCARAMEL.  Oh,  indeed,  no  !  He  wouldn't  remember 
you.  Besides,  he  never  lets  me  remind  him  of  un- 
pleasant things  while  he  is  at  supper. 

PRUNELLA.     Then  where  is  my  home  ? 

COQUETTE.     She's  come  a  long  way. 

ROMP.     She's  poor. 

TAWDRY.     She's  very  tired, 

DOLL.     And  disappointed. 

PRUNELLA.  Where  are  those  I  once  lived  with  — 
those  who  loved  me  ? 

SCARAMEL.     Dead,  I  dare  say. 

PRUNELLA.     Dead? 

COQUETTE.     Now  she'll  cry. 

DOLL.     Oh,  how  unpleasant. 

TAWDRY.     I  can't  bear  seeing  people  cry. 

ROMP.     If  she  means  to  cry  she  must  be  sent  away. 

SCARAMEL.     Baggages,  get  in ! 

DOLL.     I  do  detest  these  scenes. 

TAWDRY.     So  inconsiderate. 

COQUETTE.     People  should  keep  their  self-respect. 

ROMP.  I  gave  her  very  good  advice.  But  then  I'm 
worldly  wise.  [They  go  into  the  house. 

SCARAMEL.  Now,  you'd  better  be  getting  along, 
beggar-girl. 


ACT  III] 


PRUNELLA 


77 


PRUNELLA.     Where? 

SCARAMEL.     That's  your  business,  isn't  it?     Far  be 
it  from  me  to  interfere. 

pjijJNELLA.     I'm  weary. 

SCARAMEL.     You  Can  sit  down  outside. 

PRUNELLA.     I'm  weary  of  life. 

SCARAMEL.     Ah,  that's  what  all  you  useless  people 
say. 

Useless  ? 

My  girl,  no  doubt  you've  been  pretty 
.  .  .  Well,  good  looks  as  a  livelihood 
.     Stir  about,  find  some  other  occupa- 


PRUNELLA. 
SCARAMEL. 

in  your  time 
don't  last.  . 


tion.  .  . 
gone ! 

PRUNELLA. 
SCARAMEL. 
PRUNELLA. 
SCARAMEL. 
PRUNELLA. 


It's  useless  maundering  there  about  what's 


Does  nothing  last? 

Nothing  I  know  of. 

Does  love  never  last  ? 

Now  don't  you  know  it  doesn't  ? 

Yes,  I  know.     No,  I  deny  that ;  for  my 
love  has  lived,  —  will  live  for  ever  though  I  die ! 
SCARAMEL.     Yes,  but  what's  the  use  ? 

As  I  pray  to  die. 

Ah,  dying  isn't  so  easy  either. 

In  the  spring  my  life  began ; 

In  the  summer  —  happiness  ! 

In  the  autumn  let  me  die. 
SCARAMEL.     Yes,  it's  a  depressing  time  of  year,  and 


PRUNELLA. 
SCARAMEL. 
PRUNELLA. 


78  PRUNELLA  [act  hi 

such  an  untidy  one.  Consider  this  garden.  Look 
here,  young  woman,  here's  a  way  for  you  to  be  useful. 
If  you  want  to  earn  twopence  —  well,  say  threepence 
—  find  a  broom  and  sweep  up  here.  It's  more  than 
the  market  value  of  the  work,  but  no  matter.  Only 
be  gone  by  the  time  we've  finished  supper,  for  really 
you're  not  fit  to  be  seen.  D'ye  hear?  Oh,  well, 
gratitude  is  out  of  fashion.  If  you  want  the  money,  go 
round  for  it  to  the  back  door.  [scaramel  goes. 

PRUNELLA  [Stands  dazed  for  a  while  and  then  speaks.] 
No  one  remembers  me.     [She  looks  round  for  a  broom; 
finding  it,  she  begins  to  sweep  up  the  leaves.     Then  her 
eyes  fall  on  the  fountain.     To  the  Statue.\ 
Oh,  yes  ;  you  —  j^ou  must  remember  me, 
For  it  was  you  !     It  was  you ! 
Why  did  you  speak  ? 
Had  you  no  pity  for  a  heart  so  weak 
As  mine  ?     Nay,  Love,  what  made  you  do  this  wrong  ? 
You  spoke,  and  all  the  world  became  a  song, 
And  all  my  heart  a  bird  that  heard  its  mate 
Calling  and  crying  to  it  disconsolate, 
Bidding  me  come ! 
Say  you  remember  me  ! 

[A  burst  of  laughter,  clapping  of  hands,  and  cries  of 
'Bravo'  are  heard  from  the  house.  She  turns  to 
the  Statue  in  a  frenzy,  and  falls,  beating  her  hands 
against  the  stone.] 


ACT  III]  PRUNELLA  79 

O  stony  youth ! 

Dumb  lips,  blind  eyes, 

Tell  me  the  truth, 

Awake,  arise ! 

Say,  where  does  folly  dwell,  if  Love  be  wise  ? 

[She  falls  half  senseless  at  his  feet,     love  draws  his 
bow  over  his  viol,  and  speaks. 

LOVE.     Nay,  hearken  to  the  lips  of  Love ! 
Where  Love  endureth,  all  is  well. 
He  lighteneth  the  stars  above. 
He  holds  the  heavens  beneath  his  spell. 
Even  in  thy  grief  abides  the  sound 
Of  Love  that  girds  the  whole  world  round. 

PRUNELLA.      Dark  is  that  world  henceforth  about 
me ! 

LOVE.  Yet, 

Couldst  thou  so  will  it,  yet  would  thy  heart  forget 
Its  love?  [A  pause:  she  sobs.] 

Nay,  nay,  —  so  long  hast  thou  been  wise  — 
Forsake  not  wisdom  now ! 

PRUNELLA.  Oh  that  mine  eyes 

Could  fail  as  daylight  fails,  and  all  my  breath 
Melt  into  air  and  leave  me  alone  with  death ! 
Hast  thou  no  well  of  waters  here,  where  I 
May  drown  my  sorrow  ? 

LOVE.  Nay,  my  bed  is  dry 

For  lack  of  true  love's  tears. 


80  PRUNELLA  [act  hi 

PRUNELLA.  Here  at  thy  brink 

IMy  long-stored  griefs  shall  give  thee  tears  to  drink ! 
LOVE.     And  having  wept  thy  fill,  what  gift  might 
best 
Afford  thee  comfort  ? 

PRUNELLA.  I  would  be  at  rest 

"Where  under  earth  or  sea  it  lies  most  deep  ! 

LOVE.    Here  lay  thee  down  !    Cover  thyself  and  sleep  ! 
I'll  be  thy  watcher.     Here  shalt  thou  forget 
Past  griefs  and  present.     Good-night,  Pierrette  ! 

[Pause:  she  goes  to  the  fountain. 
PRUNELLA.     Good-night,  Love,  and  good-night,  sor- 
row ! 

[She  lies  down  and  covers  herself  with  leaves. 
LOVE.     Good-night,  Pierrette  !     Pierrette,  good-mor- 
row ! 
[Sleep  music.     The  light  fades  from  love's  face. 
MUMMERS  rush  OH,  laughing. 
Here  we  come, 
SEVERAL.  <  Look  at  us ; 

Rowdy  and  rackety. 
KENNEL.     Life's  none  so  bad  after  supper. 
CALLOW.     Wine,  wine  is  my  only  love. 
DOLL.     And  me,  and  me,  and  me. 
CALLOW.     You're  a  good  second. 
HAWK.     I  can  see  now ;    oh !    most  extraordinary 
things. 


ACT  III]  PRUNELLA  81 

MOUTH.     Here  we  come ! 

TAWDRY.     Look  at  us ! 

ROMP.     Rowdy  and  rackety ! 

scARAMEL.  That's  right.  Be  merry  !  Sing  louder  ! 
Sing  louder  !     You're  paid  for  it,  aren't  you  ? 

KENNEL.  As  my  joints  unstiffen  so  I  kick,  kick, 
kick. 

MOUTH.     Jump,  little  Tawdry,  jump  so  high. 

DOLL.     What  a  wretched  old  garden. 

HAWK.     Who  pulled  it  to  pieces  ?        [pierrot  enters. 

PIERROT.  Ah,  right,  right,  right!  This  is  youth, 
this  is  youth ! 

SCARAMEL.     Is  this  as  you  wish  it  ? 

PIERROT.     Is  this  as  it  was  ? 

SCARAMEL.      AlmOSt. 

PIERROT.     Ah,  true,  she  is  not  here. 
SCARAMEL.     Won't  onc  of  these  do  ? 
PIERROT.     Which? 
SCARAMEL.     DoU  ?     Coqucttc  ? 
PIERROT.     If  she  were  dead,  would  not  her  ghost 
haunt  this  garden? 
SCARAMEL.     Master ! 
DOLL.     Oh,  how  unpleasant ! 
COQUETTE.     Don't  frighten  us. 
DOLL.     Things  were  becoming  so  pleasant  again. 
PIERROT.     I  wonder,  could  we  raise  it? 
SCARAMEL.     Master,  be  warned ! 


82  PRUNELLA  [act  hi 


MOUTH.     Here  we  are ! 

TAWDRY.     Look  at  us  ! 

CALLOW.     Rowdy  and 

PIERROT.  Sh !  With  due  preparation.  That  was 
her  window.     See,  I  remember. 

ROMP.     Oh,  don't  you  do  it ! 

HAWK.     What's  all  this  ?     I'm  going  blind  again. 

MOUTH.     No,  the  night  has  fallen. 

PIERROT.  A  ladder  against  the  window  just  as  once 
upon  a  time. 

scARAMEL.     Master,  we  don't  beHeve  in  ghosts. 

PIERROT.  Scaramel,  I'm  getting  tired  of  your  beHefs. 
Do  as  you're  told.     Also  there  must  be  moonHght. 

SCARAMEL.     There's  no  moon  to-night. 

PIERROT.     Are  you  sure  ?     Put  out  the  torches. 

DOLL.     Oh,  not  the  dark,  please  ! 

COQUETTE.     We're  very  much  afraid. 

PIERROT.  No  moon  ?  Are  you  sure  ?  Memory  and 
magic  surround  us.  [The  torches  are  put  out.]  We 
awake.  [Moonlight.]  It  seems  long  since  I  saw  the 
moon.     Now  quietly,  quietly  about  your  business  — 

go.  [The  MUMMERS  go  off. 

SCARAMEL.  MastcT,  let  me  tell  you,  this  is  very 
foolish. 

PIERROT.     How  good  to  be  foolish  again  ! 

[scARAMEL  goes  after  the   others,     pierrot  is  left 
alone  despondent. 


ACT  III]  PRUNELLA  83 


LOVE.     O  you  naughty,  naughty  bird,  now  will  you 
Come  into  my  garden,  and  I'll  kill  you ! 

PIERROT  [Turns  about,  startled.] 
Who  called  ?     I  thought  that  I  heard  some  one  cry 
*  Pierrot !     Pierrot,  come  out  and  die  ! ' 
Is  no  one  here  at  all  ?  [He  goes  towards  house. 

LOVE.  No  one. 

PIERROT.  Who's  there  ? 

What  is  this  echo  answering  me  in  air  ? 

[He  turns,     love  nods  to  him.     pierrot  shrinks  back, 
shivering  with  fear. 

LOVE.     So  you  have  come  back? 

PIERROT  [Recovering  his  courage.]     So  you  are  awake 
again  ? 

LOVE.     It  wasn't  you  who  woke  me ! 

PIERROT.     Now,  where  is  she  ?     Say. 

LOVE.     What,  have  you  lost  her? 

PIERROT.     Well,  I  let  her  go. 

LOVE.     Wasn't  that  careless  ? 

PIERROT.     Careless,  no ! 

LOVE.     Cruel,  then? 

PIERROT.     Yes,  to  myself. 

LOVE.     Oh,  self,  self,  self,  still  self ! 

PIERROT.     That  is  my  burden ;  take  it  from  me ! 

LOVE.     Do  you  forget  that  I  am  stone  ?     Call  her. 

PIERROT.     I  have  called  —  secretly. 

LOVE.     Not  from  your  heart,  only  for  vanity. 


84 


PRUNELLA 


[act   III 


PIERROT.     All,  all  is  vanity  ! 

LOVE.  So  you  have  found  that  out.  Well,  you're 
still  tolerably  young.  There's  hope  in  youth.  Good- 
night, Pierrot. 

PIERROT.  Where  is  she  ?  Answer  me,  speak,  speak, 
I  say  ! 

LOVE.     How  can  I,  when  I'm  stone,  you  fool? 
PIERROT.     You  fool.  [He  sinks  down  in  despair. 

[The  MUMMERS  return  with  the  ladder. 
HAWK.        Quietly,  quietly. 

Here  comes  the  ladder. 
KENNEL.     Rickety,  rackety. 

Mildewed  and  cobwebby, 
Half  the  rungs  broken. 
MOUTH.       Bats'  bodies  hung  on  it, 
Owls  made  a  roost  of  it. 
Rat's  teeth  have  gnawed  it : 
There  in  a  comer  we  found  it  forgotten, 
CALLOW.     Quietly,  quietly, 
HAWK.        Up  to  the  window  there. 

Rear  it  and  leave  it. 
ROMP.     Who  means  to  venture  there  ? 
COQUETTE.     Who  will  go  up  on  it  ? 
TAWDRY.    Who  will  come  down  on  it? 
DOLL.     Nobody  —  nobody. 
PIERROT.     Nobody  —  nobody. 
HAWK.     Who  is  to  tap  at  the  window  now? 


ACT  III]  PRUNELLA  85 

CALLOW,     I  won't  knock  at  an  empty  house. 

ROMP.   Ghosts  might  hear  us  and  hang  out  their  heads. 

MOUTH.     In   long   white   night-caps   wagging   their 

skulls. 
DOLL.     Oh,  don't !    You  frighten  me ! 
PIERROT.     Hush ! 
KENNEL.     Yes,  I  hear  something. 
PIERROT.     See ! 

HAWK,  MOUTH,  DOLL,  ROMP.      See,  it  OpCHS. 
COQUETTE.      Yes. 

MOUTH.     No  one  is  there ! 

KENNEL.     But  the  window  is  opening. 

SCARAMEL.     Master,  master,  it  is  only  the  wind. 

PIERROT.     Well,  it's  an  ill  wind  that  blows  no  man 
good. 

SCARAMEL.     That  old  ladder  won't  bear  you ! 

PIERROT.     Let  it  break  ! 

SCARAMEL.     Master!  are  you  insured ? 

PIERROT.     Go !   to  the  Devil  who  sent  you !     Take 
your  wage  !  [Exit  scaramel. 

ALL.     Sleeper,  undo  your  door,  look  out ! 
The  night  wind  blows,  there  are  ghosts  about,  — • 
Ghosts  underground  and  ghosts  in  air ! 

PIERROT.     Little  bird,  in  your  nest,  are  you  there  ? 

ALL.     Under  the  leaves  small  skeletons  hang,  — 
Skeleton  leaves  where  the  birds  once  sang. 
Come  down  now,  and  be  one  of  the  ge.ng ! 


86  PRUNELLA  [act  hi 

PIERROT.    Love,  Love,  are  you  there  ?   Are  you  there  ? 

ALL.     Ferret  her  out,  however  decayed, 
Old  and  decrepit :  here  once  lived  a  maid :  — 
Honey  her  heart  was. 

PIERROT.     Love,  are  you  there? 

ALL.     Walls  are  to  climb  and  windows  to  break. 
Sleep  all  day,  but  at  night  lie  awake. 
Lest  tmder  the  shadow  thieves  enter  and  take ! 

PIERROT.     Sleep,  sleep,  for  God's  sake  let  her  wake ! 
Love,  Love,  are  you  there  ?    [Rushes  up  ladder.] 
No  one  is  there,  I  am  alone. 
Pierrette !     Pierrette !     Pierrette ! 

COQUETTE.     Come  away ! 

TAWDRY.     I  daren't  look. 

DOLL.     He  frightens  me. 

[prunella  rises  from  the  fountain. 

ROMP.     Oh,  look,  look,  look  ! 

DOLL.     Oh,  let's  get  away ! 

COQUETTE.     It  is  her  ghost ! 

TAWDRY.     Look,  she  is  coming  up  out  of  the  ground. 
Oh! 

[  Oh  yes,  it  is  she  !     It  is  she ! 

SEVERAL.  ]  Don't  stay  here  any  longer ! 
Let's  run,  let's  run 
[Exeunt  all  except  pierrot  and  prunella. 

PRUNELLA.     Pierrot,  come  down !    Pierrot,  lift  up 
your  head, 


ACT  III]  PRUNELLA  87 

Come  from  your  cage  ;  come  down  !     Pierrot,  they  said 

That  you  did  not  remember  me  at  all ! 

And  yet  out  of  my  sleep  I  heard  you  call 

My*  name ! 

And  when  you  called  —  I  came. 

[He  descends,  and  stands  gazing  at  her  motionless. 
PIERROT  [Whispers.]     Pierrette  !     Pierrette ! 
PRUNELLA.  It  is  I,  Pierrot ! 

PIERROT.     Living  or  dead,  which  art  thou  ? 
PRUNELLA.  Wouldst  thou  know, 

Draw  near  and  see  ! 

[A  pause,     pierrot  tries  to  advance,  but  fails. 
PIERROT,  Pierrette,  my  feet  are  slow 

For  very  shame :  better  on  knees  to  go.     [He  kneels.] 
Now  —  if  thou  livest  —  for  a  sign  stretch  out 
Thy  hand  toward  me  !     Leave  me  not  in  doubt ; 

[She  remains  motionless.] 
So,  is  it  so  ?    To  meet  when  parted  most ! 
Dead,  thou  art  dead !    And  there  now  stands  thy 

ghost. 
Alas,  sweet  ghost !  what  dost  thou  here  with  me, 
Robbing  the  dead  of  thy  dear  company  ? 
Go  back  where  peace  is ;  for  no  peace  dwells  here. 
PRUNELLA.     I  stay  with  Love  to  look  on  thee,  my 

dear. 
PIERROT.      Can   death  such   pity  to  the  dead  be- 
queath ? 


88  PRUNELLA  [act  hi 

I  have  no  right  of  breath  where  thou  dost  breathe ; 
No  cause  to  look  on  Hfe,  except  thou  see 
The  light  of  day  which  I  destroyed  for  thee. 

PRUNELLA.     A  Httle  weeping,  Pierrot,  does  not  blind 
The  eyes  of  love. 

PIERROT.  Ah  me,  too  bitter  kind, 

Too  ghostly  gentle  in  thy  speech  thou  art ! 
Peace  be  to  thy  sweet  soul ! 

PRUNELLA.  Peace  to  thy  heart ! 

Living  or  dead,  I  love  thee. 

PIERROT.  Say,  then,  why 

Camest  thou  here  ?    To  tell  me  I  must  die  ? 
Is  it  to-night  ?  [Eagerly. 

PRUNELLA.     To-night  were  choice  made  free, 
Wouldst  thou  give  up  thy  life  to  come  to  me  ? 

PIERROT.     Yea,  I  will  come.     Yea,  I  will  come ! 

[He  rises  to  his  feet. 

PRUNELLA.  Beware ! 

If  you  but  touch  me,  all  I  am,  you  share 
For  life,  or  death  !    So  choose  as  you  would  be ! 

PIERROT.     I  will  do  so.     Yea,  let  the  worms  eat  me. 
If  now  in  that  pure  breast  corruption  eats  ! 
Thou  smilest,  am  I  dead  ?  —  It  beats !     It  beats ! 

PRUNELLA.     For  thcc,  only  for  thee.     Qiiick  to  thy 
nest, 
Thou  weary  wandering  bird,  and  there  take  rest ! 

[PIERROT  drops  his  head  on  to  her  breast,  and  sobs.] 


ACT  III]  PRUNELLA  89 

Nay,  nay,  lift  up  thy  head,  look  not  so  ill ! 
Earth  is  sweet  under  us,  the  stars  shine  still. 
Look  how  they  number  them  !     Look  how  they  glow  ! 
PIERROT.     It  is  for  Pierrette  —  not  for  Pierrot ! 
[Light  begins  to  increase  in  the  garden,  and  the  singing 
of  birds  is  heard. 
PRUNELLA.     Hush  !    hush  !    the  birds  are  waking  in 
the  night ! 
They  sing  of  thee  and  me,  and  our  delight ! 

PIERROT.     'Tis  not  the  birds :    it  is  the  stars  that 
sing; 
Nay,  not  the  stars,  nor  any  mortal  thing. 
Either  in  earth  beneath  or  heaven  above ; 
The  song  thou  hearest  is  the  song  of  Love ! 
Hark !     Look ! 

[They  turn  to  the  Statue,  which  is  again  flooded  with 
light,  love's  head  is  raised,  and  he  plays  upon 
his  viol,  while  all  the  garden  grows  loud  with  song.] 


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